It’s a wildly inconsistent film, sometimes disappointingly clunky and as superficial as the world it’s mocking, but it’s also an ambitious piece of work with unforgettable imagery and an ace ensemble.

Entanglement is gleefully weird at times, but it could’ve been a whole lot weirder.

Whatever the flaws, The Music of Strangers does provide enough enticements to make it worth a sit, if only to see Mr. Rogers greet Ma in an old TV clip.

It’s refreshing to see an account of a famous food guy who doesn’t wallow in his own character defects.

More than anything else, Mekas' footage gives a glimpse of the fascinating aura that Tiny Tim projected.

The Champagne experience is a particular one, and even if you don’t imbibe this movie can give you an appreciation for what makes it special.

The Iron Claw inadvertently shares a lot in common with the professional wrestling world it depicts. A lot of energy and passion clearly went into it, and there’s a drive to entertain and thrill, but it ultimately ends up feeling empty and superficial.

A twisty, Hitchcockian thriller mixed with trippy moments of magical realism. And if that doesn’t sound on paper like it would work, well, it does. And it doesn’t.

All in all, it’s stupid fun, done with enough panache that its thin story and sometimes too-glib attitude doesn’t hurt it too much.

Despite the sense sometimes that Moselle isn’t driving “Wolfpack” in the way needed to make it truly work, she undeniably finds some beautiful moments in the trajectory of the Angulos, although they are sometimes so fleeting as to frustrate when they aren’t further developed.

This is a safe, sometimes synthetic story of two people in pretty settings finding a way to overcome their history and connect to one another, the beats all scheduled as conventionally as in the interchangeable comfort food movies on the Hallmark Channel.

An engaging and accessible look at one of the most important figures in cinema.

Harris, as always, imbues his characters with a wearied conviction, which goes a long way towards making Stan feel a bit more layered than the feel-good Ned Flanders type the script saddles him with.

American Fiction trips over its own feet in its final act, stumbling between daydream sequences and multiple storylines before finding a final, underwhelming resolution. But the attentive lens that the film devotes to its concept and themes is what will be remembered.

Neither character talks all that much, but both actors project complex intelligence and consistent emotional acuity.

This film doesn’t rumble through its 156-minute runtime; it flies by. And though “F1” has little to say about the sport’s past, present, or future, the propulsive ride it engineers isn’t a wasted diversion.

She is an engaging guide, humorous and honest, cynical and wise, with that same sense of innocent joy in her own fame that translated into in photos.

[Baumbach's] collaboration with Gerwig has a freshness that may or not owe something to first-blush romance but that renders this bittersweet comedy occasionally inspired, frequently charming and always watchable.

Human error—or uncertainty—is the biggest source of tension in this movie, and it goes a long way towards making this sequel (a little) more than the sum of its flashy parts. You may not need another Escape Room, but this new one is good enough to leave you wanting more.

Abrams and his screenwriters (Robert Orci, Alex Kurtzman and Damon Lindelof) are so obsessed with acknowledging and then futzing around with what we already know about Kirk, Spock, McCoy, Uhura, Scotty and company that the movie doesn’t breathe.

Maria by Callas offers a new side to her legend, one that was also vulnerable, smart but also lonely, a fate that sometimes befalls headstrong women.

The Empty Man draws comparisons to junky studio fare like “The Bye Bye Man” and “Slender Man” but this is a far more ambitious and accomplished piece of work than its reputation.

Surprisingly, Bad Boys For Life is nowhere near as bad as its opening day schedule would indicate. It is the best of the three films, offering in some odd ways a corrective to the prior installments. Unlike the original, this one finds some depth in its female characters.

Drop Dead City marshals a tremendous amount of information and footage, moving at a swift clip with the help of well-chosen interview snippets and deftly cut montages.

It’s a little too “Garden State” in places, but Johnson smartly puts a grim enough layer on their dynamic to avoid turning the whole thing into a treacly rom-com.

There’s a great—or maybe just better—drama somewhere in the pre-WWII Japanese period drama Wife of a Spy, a low-simmering psychological thriller about Satoko Fukahara (Yu Aoi) and her mysterious husband Yusaku (Issey Takahashi).

The climax of Godland feels conclusive in ways that the rest of Pálmason’s mystery play does not, making one wish that there was an extra hour or two between its beginning and the very end.

I want to recommend Nelson's film in spite of how misconceived it is simply because it asks interesting questions, albeit in some of the most banal ways imaginable.