Dear Comrades is a fascinating, irony-steeped portrait of a soul who’s been hardened by her trauma, to the extent that she embraces its architects.

The Angry Black Girl and Her Monster is a soulful, bloodied cry for control.

The Great Invisible is strongest when it focuses on the micro rather than the macro. How the spill impacted individuals in the region is the real story of The Great Invisible.

This is the kind of movie Piaffe is: one that mostly poises its absurd surreality at the edge of what’s plausible in contemporary everyday life until it moves into unprecedented physical mutations.

Ford's voice — always deep, lowered an octave by age and one more by William's longing — is even more powerful. This is Ford's best performance since "The Fugitive," maybe since "Witness."

Although this is all presented by Diễm with no judgment, it’s hard to watch such young girls be so blithe about a tradition that robs them of their autonomy.

The Land won’t win any awards for originality of premise. And the movie, after that premise comes into play, tends to meander more than a suspense story ought to. It meanders for the best reason, though, which is to help the viewer get to know the characters.

This is a film noir that is, despite some jittery, Tony Scott-esque action sequences, so cool, that you will leave it begging for a sequel.

By putting the garrulous, sometimes cranky Hersh on film, “Cover-Up” reveals, in the behavioral sense, the obsessiveness that makes an investigative journalist.

Ritch's script is thoughtful and intense, making The Artifice Girl a mentally engaging and challenging work.

Yes, it’s relatively predictable and arguably a little thin in terms of ambition, but it’s also refined and nuanced in ways that these films often aren’t. Everyone here is at the top of their craft from the character actors who populate the ensemble to the two leads at its center to everyone behind the camera, and you can feel that from first frame to last.

Underwater absolutely bullies you into liking it. There's no time not to.

Both the artist Lil Baby and the film about him pursue a deeper gratitude and respect for both this rap star specifically and the genre itself.

Throughout the picture, Bernstein interacts with genteel folk who quietly deplore what they see as the American perception of art and art-making.

Though it doesn’t break new ground, Hive still reminds one how urgently significant it is to honor the unique fighting spirit of women, and how much cinematic joy seeing that spirit flourish against the odds can bring about.

Wicked: For Good really sings where it counts: with the emotional ache of the fractured friendship at the story’s core.

A well-produced, visually impressive, character-driven fable about the man who would be king.

Les Misérables is a gripping experience, tense and upsetting.

This is a likable, funny diversion, and sometimes more than that.

John Wick breathes exhilarating life into this tired premise, thanks to some dazzling action choreography, stylish visuals and–most importantly–a vintage anti-hero performance from Keanu Reeves.

If all of the dots don’t connect, that feels almost intentional, a way to create a personal connection with the viewer that may be different than anyone else’s. Some will struggle with the lack of cohesion; for others, it will be the best thing about “Mother Mary.” Both are right. And so is Mother Mary when she says these metaphors are exhausting. More movies should be exhausting.

It can't quite seem to get out of its own way. It is intelligent and sensitive and assembled with a great care, and worth watching just for its images of the jungle.

The movie practically sparkles in scenes at Melanoff’s candy factor, where the rainbow motif is woven throughout the space and even onto Melanoff’s commander jacket, which is topped off with candy buttons and cupcakes on his shoulders.

This is Owen Kline's first feature, and he knows this world—the world of comic book obsessives and hopeful comics artists—very well. Nostalgia is probably at work in the film—somewhere—but it's buried under layers of grime and bitter disillusionment.

A good old-fashioned melodrama, albeit with a quieter touch.

This sounds very dark. But I Used to Go Here, grounded by a beautiful performance from Gillian Jacobs, treats its subject light-heartedly, while still managing to be honest.

A coming-of-age drama that’s as beautiful and brutal as the remote, rural landscape of northern Iceland where it takes place.

Whether it's the wealth of meta-cinematic references to both Shetty's and Khan's other work, or the evolving romance between Khan and Padukone, or the handsomely mounted action, or the occasionally excellent songs, Chennai Express always has something up its sleeve.