Downfall so completely erodes trust in a once-revered institution and the others meant to regulate it that Boeing’s recent claims the 737 Max’s issues have been addressed—that the aircraft is now safe to fly—can only be met with high skepticism. If it’s Boeing, I’m not going.

Copley’s performance remains riveting throughout. It’s a testament to his delivery and physicality that we can hear Kaczynski speak expansively about what he’s going to do, and we can watch him experiment with various explosives, and we’re still on edge, wondering what might happen.

Director Ruth Paxton puts you on edge from the beginning in “A Banquet,” and holds that unsettling mood throughout. But because the sound design is so vivid and Paxton’s eye for disturbing detail is so creative, it’s even more frustrating that the payoff is so unsatisfying.

It’s a startling misfire, a movie that fundamentally fails at almost everything it’s trying to do. Leatherface deserves better.

Dog is uneven in tone and quality but shows promise in the way Tatum and Carolin approach the story with care and heart.

This is a nuanced film, one that doesn’t lay itself out in what we would consider a satisfyingly linear fashion. But it’s the sort of thing that gets a grip on your spine when you’re least expecting it.

Whatever "Breaking Bread" lacks in artistic ambition, it makes up for with its good heart, sincere intentions, and, most importantly, all of those luscious images of food.

Aimless, immature, and frustratingly amateurish, Richard Bates’ “King Knight” feels like it was made exclusively for those involved in it, with no regard for an audience’s patience or time.

There’s enough here in the sheer wealth of material that fans of Peterson’s or jazz could find this documentary worth the runtime. But it’s unfortunate that Avrich and his team were not able to shape this material into an overall stronger narrative.

How is a movie based on a video game more soulless than the game itself? The knock against the world of gaming has long been that they lack a human element, but Ruben Fleischer’s Uncharted feels emptier than the award-winning franchise on which it’s based.

Yes, the script might as well have been written by an algorithm to hit every rom-com beat, from the meet-cute to the magical connection to the setback to the happy ending, but it deserves extra credit for what it avoids. There are no silly misunderstandings, contrived situations, or cartoonishly awful people.

Gentle and lilting, "Lunana: A Yak in the Classroom” moves at a hiker’s pace.

The glittering cast of Death on the Nile is all dressed up but, alas, they have nowhere to go.

Catch the Fair One is a revenge-thriller, and a satisfying one, since the evil on display is so total. However, the satisfaction is hollow. Hopelessness is the dominant mood.

Jenny Slate and Charlie Day deserve better than “I Want You Back,” a leaden rom-com that gives them a shot at being funny, charming, and sweet, only to squander it scene by scene.

Another season, another “Liam Neeson Has Skills” movie.

A tougher, smarter film than American sci-fi cinema buffs are used to seeing.

Fashioned out of fresh faces unable to lie to the camera, “Playground” is a study in human behavior wrapped in equal parts fear and curiosity.

The end result is that particularly crumbly kind of book-to-film adaptation that comes across more like a SparkNotes you can watch, a story told at double-speed with much of its impact missing.

Leading man Johnny Depp is up to the challenge, and he gives a finely tuned performance here that kind of feels like his first "old man" turn, and he’s matched by a charming piece of work from Minami, but Minamata is weighed down by self-important direction that loses the human beings in this story by prioritizing the headlines.

Sometimes, the suggestive nature of Gregg’s impressionistic mood piece—as well as a characteristically strong lead performance by Riseborough (Possessor, Mandy)—is enough to sustain one’s interest in Here Before. Right up until Gregg lobs an unsettling and only partly satisfying twist at viewers and leaves us to work through our feelings on our own time.

The Pact starts off on an intriguing note and has some moments when it does work (especially the ones involving Grete), but while it's theoretically filled with dark psychological underpinnings, it seems oddly reticent to deal with them in any significant way.

Ruthless and precise, Steven Soderbergh’s “KIMI” is a timely commentary on isolation and intrusion.

The Worst Person in the World, Trier’s stirringly sophisticated masterpiece, unrolls in piecemeal manner, but once fully extended is a tapestry of unfeigned experiences sowed with the thread of truth, in all its painful ambivalence.

Co-written with Harald Kloser and Spencer Cohen, “Moonfall” is a lumbering, long locomotive of one cliche attached to another, making time pass slowly even though there is so much juggling of these different one-dimensional relationships.

The film is clearly sweet and well-intentioned, but Mexican director and co-writer Analeine Cal y Mayor has trouble transcending the confines of her meager budget, which leaves “Book of Love” looking and sounding distractingly chintzy.

As we tag along with Haroun’s characters, we learn to appreciate their story as a small, but vivid study of lives that are so much more than their progressive developments.

It would have been one thing if Alone with You at least worked as a genre outing on some level. It doesn’t—the film’s chills and scares are nearly non-existent; plot, stretched to the seams, unable to sustain a feature's length; and camera work, amateurish.