There's enough material here to fill an entire multi-part docu-series, but My Psychedelic Love Story is an intriguing and often-humorous look at these crazy events, anchored by Harcourt-Smith's presence. She’s the reason to see it. You can understand why nobody who met her ever forgot her.

Dabbach’s performance and the film’s commitment to that search-and-destroy ideology from the viewpoint of Iraqis themselves create some undeniably satisfying moments.

While much of this Black Beauty strays from the original, the spirit of empathy and combatting animal cruelty remain intact.

I found the film to be an engrossing look at Zappa and his legacy that nevertheless avoids the mere hagiography that films of this sort run the risk of embracing when not handled properly.

A decent first half and solid voice work throughout succumbs to total chaos for the second half and the realization that there’s almost no actual artistic intent here. No story, no character, no world-building, no design. It’s all bright colors and loud noises. You’d think we’d evolved beyond that by now.

Boseman never gave less than one hundred percent to his often demanding roles. His work here as the trumpet player, Levee, is no exception. It’s no stretch to say his last performance may be his finest.

The father-son drama in Embattled might win some rounds, but the abundance of clichés leads to a loss overall.

Jiu Jitsu is too disjointed and tame to be worth an impulse-rent; it's also too silly to be enjoyed with a straight face, and too lazy to be endearingly dopey.

In writer/director Chad Faust’s Girl — a wobbly and desperately unimaginative mesh-up of contemporary noir and a Southern-fried tale of ancestral trouble — Thorne continues to broaden her range, serving up a quiet performance of emotional burden and impressive physicality.

Regardless of one’s whereabouts or knowledge of the Great White North, viewers will likely find this comic fable chillingly relatable, as the world teeters on the brink of totalitarian collapse.

The movie’s off-putting and constantly foregrounded political agenda wouldn’t be so unpleasant if the action scenes were more plentiful and/or thrilling. They aren’t.

The highlight of the film is the trial. Van Meegeren insists he was not collaborating with the Nazis; he was defrauding them. The film takes some significant, unnecessary, and distracting dramatic license and spends too much time on characters and relationships that are not as signifiant but these scenes are powerful.

You’ll be able to figure out where Run is headed pretty quickly, but that doesn’t detract from the precise thrills and campy fun along the way.

Alexander Nanau's Collective has a propulsive energy, relentlessly building in urgency and outrage.

It’s a movie that doesn’t just allow for silence but thrives in it, with Ahmed’s eyes and body language charting the arc of his character. He doesn't miss a beat.

This is Friedkin on the movie. And what he does have to say, after all this time and so many articles and movies touching on “The Exorcist,” is still engaging, fascinating, and entertaining.

The documentary vigorously investigates — and subsequently calls out — his integrity as an artist, an associate, and even as a gang member.

As storyteller, Gibney finds a constructive manner to mindfully engage our admittedly bizarre fixation with murder (which would be worthy of a separate doc) while encouraging a more humane way to approach some of society's most violent figures.

A brave, revelatory, and beautifully realized film, it is easily one of the year’s best and most important documentaries.

Since Thunberg is one of the most gifted and arresting speakers alive today, I Am Greta is inherently compelling as a behind-the-scenes document of the vulnerabilities masked by her forceful persona.

While it's unlikely that this film will take up too much time in any future Lifetime Achievement Award clip reels, Dreamland is a testament to the importance of sheer star power to help carry even haphazard material along, at least up to a point.

Raboy manages to pull off several galvanic cinematic effects even as his scenario yields little more than exasperation. There’s enough raw talent on display here that I’m looking forward to his next picture nevertheless.

The result is a film that can be a bit dry when Oppenheimer leads the scientific discussion but that comes springing back to life when Herzog the filmmaker allows his awe to come through the camera.

Gruff and always on the cusp of irate, Gibson is fine as this twist on Santa, but his performance, like the whole of the movie, simply rides on a single, warped idea. The slightly clever gimmick and simple plot are the true stars of Fatman, a movie that misses out on a whole lot of what could have been.

As with the many trend pieces complaining about millennials spending too much money on avocado toast over home mortgages, Echo Boomers gets a lot wrong about the generation it wants to discuss. Maybe the filmmakers should have listened more.

Come Away evokes memories of “Radio Flyer,” the equally appalling 1992 child abuse drama where fantasy and cruel reality merged in ways that were shockingly offensive.

"The Last Movie Star" paid tribute to Burt Reynolds' career, but also appreciated what he brought to the table as an old man. The Life Ahead operates the same way, allowing Loren similar grace and space.

Thoroughly grisly and mostly entertaining, “The Mortuary Collection” is a satisfying choice for the spooky season.