An attempt to tell this complicated intersectional story, and it does so with a comedic light-hearted style, sometimes appropriate, but sometimes inadequate to the possibilities inherent in the real-life event.

Kuras understands the unique position of the photographer as intrusive but unobtrusive, sensitive enough to see where the story is but removed enough to maintain observer status. However, as for more about who she was, Miller stays frustratingly out of focus.

The ethereal essay provides a bounty of poetry, in the form of a measured narration by international treasure Tilda Swinton, and an extensively labored assembly of 200 black-and-white film clips.

As unnecessary prequels go, Solo: A Star Wars Story isn't bad. It's not great, either, though—and despite spirited performances, knockabout humor, and a few surprising or rousing bits, there's something a bit too programmed about the whole thing.

Iron Man 3 builds on the first film's political cynicism by suggesting that politicians and arms dealers dream up foreign policy crises to consolidate power and make money, but it doesn't develop this notion in detail, because if it did, the audience would tune out.

It’s a well-made, purposefully ugly treatise of America as a broken-down theme park. But its charm wanes whenever it’s just not as funny, smart, or edgy as it thinks.

It’s all pretty effective but in the end, somehow empty. Not to make an unfair comparison to a classic, but the movie “Deliverance” actually followed through on all of the themes that its storyline suggested, while in Backcountry, we end up with a storyline in which all but the most elemental stuff winds up as window dressing.

It’s frothy and insubstantial, but at least takes its central idea — life’s too short, start a polycule — seriously enough to be charming.

Working with a bigger production company on a film that feels more like anyone could have made it than their previous works drains “Hell Hole” lacks some of the DIY charm of the other flicks by Adams and Poser. Comparatively, it’s kind of a disappointment, despite having some undeniable positives that should make it an easy watch for horror heads.

Call Jane is about an important subject, but it's also a character study of one woman waking up, not just to her own strength, but to the fact that she's hidden in the suburbs for too long. It's time to help others. It's a very satisfying character arc.

Sometimes we just need a nice, cozy movie featuring a heartwarming true story and actors with British accents. And if Bill Nighy is one of them, well, that's just a bonus.

There aren’t many surprises here, because the bread crumbs that lead to the movie’s big finish are plentiful and very stale. Seriously, the plot twists in this movie are so obvious and unappetizing that you couldn’t miss them if you tried.

So much works so well for so long in “The Good House” that it’s frustrating when the film casts its eye elsewhere and begins paying way too much attention to the town’s peripheral figures.

If anything, the horror element of this horror movie is the weakest part, but Totally Killer is spry enough to remain enjoyable throughout.

Even with the excellent central performance by Karen Gillan, playing a "dual" role—herself and her own copy—Dual makes for a strangely tepid viewing experience. Deeper exploration is not on the table.

The sheer filmmaking craft on display here shames almost any comparably budgeted superhero picture you can name.

What is scarier than an unexplainable, unidentifiable sound in the pitch-black woods, miles from civilization? Willow Creek makes the case that the answer is nothing.

The Summer Book is a haiku of a movie, conveying profound thoughts about time, memory, loss, and nature through a simplified, meditative, cinematic language of exquisite images and gentle music.

The first feature from the longtime music video director has a ton of style, and signals from the beginning her confident use of framing, texture and color.

The two leads are appealing, and the pace is brisk, but the movie never aspires to be more than a cookie-cutter creature feature — the kind of film that can be washed back with a pint and then forgotten in the morning.

While the wind goes out of its sails a few times along the way, this is a ravishingly photographed, old-fashioned man-against-the-elements adventure epic propelled by human-scaled heroics.

If you are hungry for dazzling eye candy and don’t mind a less-than-meaty narrative, this might please your palate.

Early on, Alex Brendemuhl gives a quietly unnerving performance as Mengele, a polite and meticulously dressed gentleman living in 1960 Patagonia.

Ultimately, the spirit of “Love, Brooklyn” is tenderness. It is both a love letter and a sympathy card: an acknowledgement that growing up sometimes means letting go, embracing the changes that come with time, and that loving someone does not always mean holding on to them.

A Jazzman’s Blues proves that when Perry applies himself in a particular fashion, his work can stand entirely on its own.

Young Woman and the Sea doesn’t reinvent the genre in any way, but it keeps us engrossed for every strenuous stroke.

American Dharma is a frustratingly hollow look at Bannon that is ultimately so benign in its portrayal of the man that it comes closer to an example of fan service than a full takedown.

Despite a few good scenes and ideas, and a final ten minutes that will be affecting for anyone who lived through the aftermath of the attacks on New York, the end product often feels like a standard-issue high concept romantic comedy with scaffolding of 9/11 solemnity built around it.