While there’s no new ground to be covered—Elizabeth’s captors were long ago brought to justice—it’s still a journalistically thorough and fascinating look back at the story, highlighted by present-day interviews with Elizabeth, her little sister Mary Katherine (who witnessed the abduction) and Elizabeth’s father, Ed Smart.

That “Deepfaking Sam Altman” is earnest and curious and full of fun thought prompts ultimately makes it more frustrating than a flat-out bad movie would have been.

Despite an overall unsatisfying resolution to these inquiries, the ideas that the film prompts, coupled with Foster’s nuanced performance, make for a compelling enough character study.

Shuffle is admirable work from Flaherty, shining a light on the greed that mostly fuels these so-called wellness centers and the addicts who, unfortunately, get strung along. But I couldn’t help thinking he was biting off more than he could chew.

Sound of Falling operates like a ghost story, complete with a haunted house, but the ghosts aren’t supernatural. The ghost is history.

These moments have a tactile intimacy that’s incredibly powerful, placing these ordinary people in an almost timeless continuum of seemingly ordinary behavior that becomes extraordinary in memory, or through the eyes of a camera.

Thankfully, Studio 4°C’s sumptuous animation and sound design still make “All You Need is Kill” a vivid and worthwhile do-over.

Joe Carnahan, the director of gritty cop flicks like “Narc” and “Copshop,” is back in his wheelhouse with the effectively entertaining The Rip, the rare Netflix original action film that actually plays like something you’d want to see in theaters.

The film clearly has a lot on its mind. But by the end, you still might not know what it was, even though the hurtling camerawork, jagged edits, brutal physical confrontations, and bone-rattling sound design will send you home feeling like you’ve had an experience.

If there’s one misstep to “The Bone Temple,” it’s the ending, which features a cameo that alters the tenor of the picture’s emotional hostility.

The Israelis in "Holding Liat” are perfect subjects for a documentary about wartime trauma that hopes to reach beyond partisan enclaves.

All That’s Left of You, a multi-generational Palestinian epic, is the kind of accomplished, immaculately rendered film that’s indicative of a director who’s learned much and is ready to seize more.

Through the ending and postscript, which leave you unsure how to feel about what you’ve seen but eager to discuss it with others, this is a nostalgia trip of the best kind.

Magellan, about the titular Portuguese explorer, clocks in at a relatively tidy two hours and 45 minutes, making it practically an ideal starter picture for those curious about Diaz’s work.

A by-the-numbers sequel that mostly ignores the stuff that made its predecessor stand out in exchange for formulaic would-be thrills.

The film is deeply sympathetic to the impossibly difficult choices these girls face and respectful of their efforts to do better for their babies than their parents did for them.

Even though we can pick our flavor of digital numbing, Birney brings his DIY mentality and a host of collaborators who are in sync with his sensibilities to craft a project that shakes us out of the tempting lull and urges us to live life as an NPC.

Unfortunately, more bland than broad humor otherwise stands in for Polsky and Herzog’s personalities.

Andersen’s film, in its attempt to present various perspectives in this story, shifts the viewer’s attention from one character to another, diluting its emotional impact.

It’s all just really bizarre, limp copies of better films.

It’s tempting to knock Primate for its dumb characters and contrived plotting, and for the various hoops it throws its characters through to get to the goods. And make no mistake, this script and its inhabitants are rock stupid, to the point where you might want to yell warnings at the screen. It’s an instinct that, frankly, I don’t get; don’t you want these people to get killed off in increasingly grotty ways?

What “We Bury the Dead” does really well is remind us that the zombies were once-alive. They are someone’s mother, child, husband. In many zombie movies, they are a faceless unstoppable mob, and you want all of them to be put down stat. They’re the ultimate “heavy”. Here, they are still scary, but they are also sad. What happened to them is tragic. “We Bury the Dead” never forgets that.

While the lessons of “The Choral” feel applicable to our present moment, Hytner is careful to ground its story in a richly realized setting of a different era.

It’s clear that the irrepressibly charming Sedgwick and Bacon love to share the screen, and it is an absolute joy to watch their effortless chemistry. I just wish it were in a better picture.

The Plague isn’t a horror movie per se, but it moves with the mood and music of one.

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.

One can’t help but feel sad, and yes, sometimes infuriated, that Chevy Chase never fully figured out a way to enjoy his great success without making so many others in his circle miserable.

By expanding the play’s world, Gaines opens himself up to new scrutiny. Beetz does the best she can with a thinly drawn character, but it’s hard not to wonder what The Dutchman would look like if Gaines showed any real interest in her.