Relic, with a script co-written by James and Christian White, is filled with subtle detail, character depth, and a creeping mood of dread, illuminated by the three central performances given by Nevin, Emily Mortimer and Bella Heathcote.

The Truth doesn’t have very much of a plot. What little there is serves as a clothesline for its two excellent leads to hang their performances out to dry.

Director Dawn Porter’s film is an intimate homage to both the legend and the man, as spry and lively as Lewis himself.

Massively entertaining.

I went into the film knowing nothing about the Cantopop star, and came away from it as an instant fan rejuvenated by my connection to every soul throughout the world currently fighting to preserve human rights against the rising tide of totalitarianism.

Suzi Q is a portrait of Quatro's journey and her influence on the generations that came after. Most importantly, it is a history lesson for those who may not be aware of Quatro. As Joan Jett, one of the many people interviewed, says, "[Suzi] really should be one of those people who should be much more discussed, much more in the lexicon of musicians—especially being so early."

Welcome to Chechnya is both astonishingly groundbreaking in its use of technology, and difficult to watch.

Even a script written by algorithm would make more sense than Force of Nature, a dumb dud of a movie that relies on the most preposterous of coincidences and the most exhausted of premises (in both senses of the word).

The biggest strength, of course, is Ortega and Macdonald, who have great chemistry. These two actors know exactly who these guys are and their history comes through naturally.

All I Can Say feels much longer than it actually is. Hoon struggled with addiction. He was arrested many times. It's a cautionary tale but one we've heard so many times before. Fans of Hoon will thrill to all of this footage. For others, it'll be a pretty tough haul.

Irritating film.

There’s a quiet intensity that runs throughout The Audition. Although most of it feels like a subtle family and teacher drama, sharp anxious pangs occasionally disrupt the film’s otherwise gentle pace. Eventually, these feelings spin the film’s main character out-of-control into a truly baffling conclusion that feels neither right nor earned. It’s almost as if it were the ending of another movie entirely.

House of Hummingbird deserves a place alongside the likes of “The Virgin Suicides,” “The Ocean of Helena Lee” and “Eighth Grade” as one of the most knowing and intelligent cinematic takes on the pains and occasional pleasures of female adolescence of recent years.

The Hoebers have woven a delightfully weird streak throughout the humor that’ll keep you on your toes. It’s consistently a pleasant surprise in what is otherwise a predictable story.

Sweetly goofy and joyous.

Any degree of sleaze requires a little wit, and Yummy has none. As it struggles to be even mildly significant in the sprawling history of zombie stories, it eventually leaves viewers with a movie that's just plainly ugly.

But still! Even if Irresistible were released a year ago, when its face-down-on-the-bar, abandon-all-hope vibe would've made more sense, it would still be entering a pop culture landscape in which "Sorry to Bother You" and "The Death of Stalin" existed, and it would seem imaginatively as well as politically bereft in comparison.

One former gymnast says, "The line between tough coaching and abuse gets blurred." This may be what it takes to win gold at the Olympics, but is it worth the cost?

Nobody Knows I’m Here wants to make a statement about the harsh price of fame and the awful, hurtful machinations that settle the bill. It just takes too long to get these ideas into the plot thanks to the clichéd handling of its protagonist’s dark past.

Daddy Issues is not the laugh-out-loud rom-com it had likely aspired to be, yet it’s just charming enough to make you wish it were better.

I’m still shocked that Followed is as funny as it is given that Mike is as obnoxious as you might expect given his very online, anything-for-the-lulz persona. He’s a cartoonishly loud, entitled millennial who never stops reminding us that he only cares about the sound of his own voice. He’s also sometimes unintentionally hysterical?

Exquisitely researched, beautifully put together, with that celebratory knowledgeable chorus of voices pouring over us, what Spike Lee's documentary really is is an act of love.

This Netflix documentary will undoubtedly help more people understand how transgender people have seen themselves represented in Hollywood — it brings everyone together with its critical eye.

While the results will obviously not come close to resonating with the public in the manner of “Walk the Line,” My Darling Vivian does an admirable job of recounting the story of a woman who was ultimately far more than just a footnote in someone else’s life.

Holland’s film manages to get under one’s skin on the whole, remaining a compelling watch throughout in spite of its rambling feel.

One can see the craftsmanship and skill with actors that Assayas has honed for the last three decades in the film’s best moments, even if it adds up to something of a disappointment when compared to the majority of his filmography.

You may think you know where it is going. And maybe you're right. But how the film gets there is a very different matter.

A lot of this is figuratively and literally standup material, with the interview subjects framed head-to-toe in front of bright, primary-colored backdrops, and keeping things as light as possible.