Logan is the rare blockbuster that could be a game-changer. It will certainly change the way we look at other superhero movies and how history judges the entire MCU and DC Universe of films.

Nationtime is a call to action, showing us how far we have come in some ways.

28 Years Later is a deeply earnest film, a picture whose sincerity is initially off putting until it’s endearing.

The whole thing is handled with sly wit as well as unfailing stylistic smarts, which makes for a very satisfying package.

Any diehard King fan will tell you that the author’s biggest problem is endings. For years, it was almost a joke that King didn’t know how to wrap up even his best books. His ending for Gerald’s Game is atrocious, and you’d be better off turning this off about ten minutes before the credits and just imagining what happens.

Filmmaker Ira Deutchman offers a compelling biographical portrait of a highly influential New York movie theater owner and independent film distributor that is, by extension, a study of the importance and complexities of creative film marketing.

An empathetic examination of the traditional lifeline of a tight-knit community, threatened to be torn apart by an inevitable wave of capitalist takeover.

The movie is at its best when it's immersing you in a series of conundrums and letting you feel what it's like to live with them, and wrestle with them. All of these people are doing the best they can, but the system is broken.

For the most part, So Late So Soon is a moving and thoughtful meditation on the inevitability of aging and mortality and the unstoppable lure of the creative process.

Swedish director Björn Runge’s approach is no-nonsense and workmanlike, perhaps to give these esteemed actors room to swagger and shine, but a bit more imagination and artistry wouldn’t have hurt.

If anyone is concerned about the way women are presented on the big screen these days, just look at how an evolved male like Hiccup respectfully treats his girlfriend Astrid (America Ferrera) and the portrayal of Blanchett’s Valka.

See it for the performances. There you will find the whole story.

For either newcomers or fans, the documentary’s cradle-to-grave, talking head approach too readily threatens to take the zip, romance, and funk out of a fascinating subject who would be nothing without those very elements.

There’s a lot of crunch and dazzle here. While the overall tone is pitched to a teen demographic, the creative energy and the execution on display is consistently engaging.

There is a lacking critical quality to the story as it goes along, touching upon the film’s many idiosyncrasies but leaving them alone.

The mosaic arrangement of material ensures that no one subject can be covered in detail -- the sum total sometimes plays like a very good themed edition of "CBS News Sunday Morning" but with a wickedly funny narrator -- and a couple of segments, notably one about a rehab clinic for gaming addicts, feel intellectually undercooked.

It's to the credit of Anthony, who wrote and edited as well as directed, and his cinematographer Corey Hughes, that you come away thinking about parts of the film that felt like cut-able digressions and undergraduate musings when you were watching them.

This expertly made, highly dramatic film achieves must-see status for the inevitable light it sheds on the persistence of toxic racial hatreds not just in Hungary but worldwide.

Kneecap is “about” a lot of things, and its pace makes it impossible to resist getting swept up in it.

This is one of the most relaxing experiences I have had watching a movie in a long time.

Georgian filmmaker Levan Koguashvili’s Tribeca prize-winner, “Brighton 4th,” is a tragicomedy that sneaks up on you stealthily before flooring you with an emotional sucker punch in the final reel.

You may be left cold, feeling that you’ve seen a theoretical exercise whose purpose was never articulated. Or you may react as I did. I took pages of notes for this review, doing my best to describe the movie as a discrete work—an object to be contemplated. When the final credits rolled, I closed my notebook and wept.

While Tramps may be inspired and unusual, it’s hard to shake off the idea that Leon isn't just making the film he wants to see, he's riffing on himself.

It is a touching document of seemingly regular people who yearn to keep an artistic tradition alive.

Filmed in a rich black and white, director Zeshawn Ali’s documentary and feature debut Two Gods is an intimate, lyrical exhumation of the cycles that haunt Black youth and the challenge of putting to rest old habits.

Maggie’s Plan almost isn’t screwball enough. The characters must undergo some introspection, as well, and striking a balance between those two dynamics proves challenging.

An intimate epic, Testament of Youth has great historical sweep yet remains focused on the human vicissitudes experienced by Vera and her circle.

While the documentary’s heart is in the right place, and loaded with many historical goodies for silent movie fans and those interested in championing women directors, the way “Be Natural” presents its findings feels unorganized — like walking through a busy museum exhibit with too many objects, not all of them especially necessary.