I have to admit: the wrap up got me good, enough to make me admire Facinelli’s ambition and handling of mechanics.

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.

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

In his mind, Cohn was still the hero of his own story. And we get the impression from this film that, right up to the bitter, agonized end, he was engaged in an internal battle to justify himself to himself, and to the world.

Genius, this movie believes, is real, whether it’s failed or successful.

Amanda Kramer’s “By Design” is an oddball, almost-love story that has more to say about human dejection and desire than a lot of more conventional tales.

This intimate Irish drama travels a road that'll be familiar to anyone who's ever seen a film about addiction, or known an addict, but the fact that all stories of addiction are essentially the same doesn't blunt its impact.

What Messina lacks in substance in his storytelling, he mostly makes up with raw feelings. We come to care through our own powers of observation, and that might be enough.

If they gave Oscars for bringing underwritten characters to life, Hathaway and Galitzine would be contenders.

For black kids it's so much about the identities and misconceptions thrust upon them. Despite the film’s notable strengths, this is a careful distinction that writer/director Chad Hartigan misses, much to the film’s detriment.

Overall it is a friendly and affectionate backstage look at the world of the mostly-straight male dancers at La Bare.

This film about an exemplary woman, made by women, is as much a pleasure as it is a lesson.

It sometimes succumbs to that animated problem of choosing hyperactivity over all other storytelling options, but it’s also a whip-smart action film, a movie with nearly “Fury Road”-esque momentum in its asking of the question, “What if the only family that could save the world was as dysfunctional as yours?”

What is most endearing about the film is the palpable message throughout that Sesame Street was brought to us by the letters LOVE.

It's quite good, for what it is. But it's that "for what it is" part that proves slightly exasperating.

Much better and more original than anyone could have expected.

The movie finds its feet, and unrolls as a pretty suspenseful, largely engaging, and hardly ever too-over-the-top spy thriller.

Von Horn has crafted an impressive art film that tells a story outside of the pathological narcissism commonly associated with the world of social media influencers. Even surrounded by the alarmingly curated lifestyle, von Horn and Koleśnik together bring to life a story with more nuance, sophistication and genuine moral curiosity than we’ve seen from the genre.

Last seen in “Starred Up” and Angelina Jolie’s “Unbroken,” O’Connell continues to bring equal measures of toughness and vulnerability to his characters. Despite his good looks, there’s an everyman’s quality to him, which he uses to full effect in ’71.

Last Bullet puts a decisive capper on the previous movies’ action-intensive gearhead-cop saga, though it’s hard to say how much closure one might need from these characters. They’re charming enough thanks to a committed ensemble cast, but nothing about the movie’s by-the-numbers narcotics cops vs. dirty cops story demands further extension.

Kenny Sailors may have invented the jump shot, but the film about him pays him a great honor by being about so much more.

City of Ghosts doesn’t feel like it has the impact of Heineman’s previous film, the searing “Cartel Land,” but it is still a worthwhile examination of the importance of an institution currently under siege around the world: journalism.

Marks’ “Turtles All the Way Down” shines with John Green’s trademark whimsy. It’s a charming, delightful YA romance that doesn’t bind itself to the sole enjoyment of its target market.

Beetlejuice Beetlejuice is a return to form for director Tim Burton only in the sense that, like Burton early in his career, it’s not interested in form except at the immediate level of the image and the scene. It’s an overstuffed toy bag of a movie: every minute or two, the director digs into the bag and produces a new toy.

Watching young men become militarized is one of those gut-churning documentary topics. And yet the main subject of Of Fathers and Sons would argue that this is the only path to freedom and to happiness. The best parts of Talal Derki’s award-winning film not only seek to understand that but to reason with it.

Run All Night is proof that quality action films don’t really need to reinvent the wheel each time out as long as they make it spin this smoothly.

Viewers will find themselves entertained and curious to get home and see just how many of the records in their collections bear the creative imprint of these guys.

The Great Hack will be catnip for data wonks and mathematicians, but I sense its desired purpose is to be a cautionary tale for the general viewer. I think it’s a tad too long and a bit too wishy-washy when it should be angrier, but I was fascinated by it for a very specific personal reason.