To his credit, the junior Hanks makes a genuine effort to delve in to Candy’s psychology—to understand what drove him.

Imagine a cross between “Taken” and “Fargo” and you’ll get an idea of the chilly thrills “Dead of Winter” has to offer.

It's as engrossing, thoughtful, heartfelt, angry, hopeful, and altogether valuable as his best work. If it is indeed Loach's farewell, it's one hell of a fine note to go out on.

Thoroughly grisly and mostly entertaining, “The Mortuary Collection” is a satisfying choice for the spooky season.

It’s in exploring the iconography of the hotel that the documentary shines the brightest. Van Elmbt and Duverdier are clearly well-versed in the works that were created on the grounds, or by former residents, and do their best to imbue their film with the same timeless cool that pulses through them.

Eloquent and moving, The Deepest Breath shows what it's like "down there," why people risk their lives to free fall into the blackness where it is so quiet, and why they also risk their lives to bring divers in trouble back up to the noisy surface.

We cannot help wishing, as we do so often in watching what passes for news these days, that this story was told with more insight, context, and, well, focus.

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.

It’s an infectiously goofy film, but also deceptively smart about why we love comic book heroes and the amount of stupidity we’re willing to accept within the genre.

Song's performance makes me wish the rest of A Taxi Driver was as thoughtful.

Watching Harris and Dormer create this event together is why I love going to the movies. In that elegant, horrible townhouse, anything could happen. And anything does.

The Drop is just how I like my Tom Hardy – in nearly every scene.

The flashback scenes are not as compelling as they try to be. The Hopkins scenes are more engaging, not just because we look forward to the re-enactment of the television reveal, but because the film is sharper at addressing the existential issues of purpose and meaning than it is in showing us the difficulties in rescuing the children.

The reason that The Monster works is because of how much Kazan’s performance captures the truth of the moment in which Kathy struggles.

The scattershot approach sometimes works to the detriment of his message, but “Fahrenheit 11/9” is ultimately Moore’s best film in years because its message is really simple and nonpartisan: get mad about something and do something about it.

It’s never a good sign when characters in a film promptly declare: we are aware you are watching and we’re here to teach you a thing or two.

A general lack of urgency are the main things holding Get Duked! back from being as good as it is promising.

While “Jim Henson: Idea Man” may not break any new ground regarding Hensonian research or documentary filmmaking in general, it should prove valuable to younger viewers curious to know more about the man behind so many beloved childhood icons.

What makes Chase Joynt’s first solo outing as a feature director, Framing Agnes, such essential viewing is the extent to which it sheds new light on the legacy of trans Americans from the past century and beyond, whose voices are only just beginning to emerge from the vault of obscurity.

Allowing us to luxuriate within the languid pacing of this slice-of-life story is actually refreshing during these big, noisy summer days.

It’s that assured blending of emotions that makes “LaRoy, Texas” a sturdy tonal journey—a film enamored with those living on the fringes of respectability—that bodes well for whatever freewheeling story Atkinson hopes to tell next.

Movies rarely come as chic as The Outfit, a thrifty, continually unpredictable whodunit, fashioned with the same meticulousness found in the bones of a deceptively simple suit.

Raiff offers some impressive tonal mixtures and narrative surprises along the way, and even though his third act sags a bit, the performances—particularly from an achingly melancholy Dakota Johnson— remain compelling until the end.

Though it's a familiar plot about kids learning discipline and teamwork through sports, The Grizzlies is brought to life through the specifics that make the characters and their sense of place — and of displacement — central to the story.

The hormonal surges in Our Souls at Night aren’t quite the rollercoaster ride they are in those adolescent affairs. But this steady-as-it-goes approach to a senior snuggling has its ups and downs, too.

Bell and co-star Simon Pegg are such enjoyably unlikely rom-com leads, and they have such crackling chemistry from the word go, they more than make up for some of the film’s more predictable plot elements.

Dayveon stands out with its vision, regional flavor and overall personality.

Stewart and Erskine light up the movie with vivid, layered, authentic performances that capture our interest but throw the movie out of balance. One more screenplay draft would have been worthwhile; there are glimmers of a better version that create some optimism for Angarano’s next film.