Stiller has become a deeper actor with age, and he's perfect here: you know he has a good soul, because this is a comedy, and not a dark one, but he keeps you guessing.

The movie is largely a story of personalities. Karl is fiery, brilliant, disorganized, passionate. Engels is, despite his courage and curiosity, a bit more of a wide-eyed innocent and certainly a more organized person. Their female partners do take secondary roles, but the movie depicts them as committed, innovative, and acute: true fellow travelers and comrades. The actors portraying these figures are all exciting to watch.

The movie is a very sincere and good-hearted adaptation, but it loses focus by trying to include too many elements of the real-life story.

If you’re watching “Leo,” it should be to see Vijay show off in between animal attacks, car flips, and celebrity cameos. And even if you don’t expect much from “Leo,” it still might give you exactly what you need.

Watching Douglas behave like a narcissistic scumbag is an absolute pleasure, one in which viewers of action-adventure Beyond the Reach can happily indulge.

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

Corbijn, as has been his custom in directing features, goes for mood and feel rather than narrative momentum, although his scope is clearly hemmed-in by the production’s budget; there’s not much here in the way of effective ‘50s-New-York evocation. But the actors and their exchanges ring true, and by the time the film reaches its lonesome conclusion, the resonances are eerie.

The story's heart is Kemper’s Helen, of course, and this role is a perfect fit. Helen is less sunny than most of Kemper’s roles, allowing her to show more subtlety, depth, and complexity.

It will only take a few seconds on Google to tell you how this election ends, but what only the film can do is show you how Bobi Wine evolves into a powerful spokesman for democratic values as he tries to save Uganda from autocracy.

Paddington 2 proves the smart-but-sweet combination that marked the first live-action film was no fluke.

It's an unsettling, and sometimes high-concept doodle, but it's awfully hard to resist a film that marries Atomic Age paranoia and optimism with Kurosawa's signature post-modern, atmosphere-intensive style.

A tidy and tension-filled exercise in terror that takes stage fright to literal extremes.

Billed as “an unromantic comedy,” Covino’s is a film that recalls comedies of the ‘70s in its willingness to allow its quartet of lead characters to be horny, problematic, and generally idiotic.

The film Shackleton wanted to make clearly wasn’t a passion project coming from his deepest soul. It’s not like he’s Orson Welles yearning for the unfairly butchered “Magnificent Ambersons.” “Zodiac Killer Project” is fairly thin in both conception and execution, but it is very much “my kind of thing,” particularly his dry, humorous tone. He makes a good and entertaining guide.

The golf cart scene is an excellent example of what Greener Grass is attacking, and it's a sharp and subversive critique: it would be great to live in a more civil world, but too much civility leads to golf carts stalled at a four-way intersection.

The movie is so consistently moody, and so focused on driving you towards a gut-punch finale, that even valid complaints seem negligible in retrospect.

Tokyo Tribe, an adaptation of a popular Japanese manga, is bound to charm viewers — both the uninitiated and the diehard fans of director Sion Sono ("Why Don't You Play in Hell," "Love Exposure") — with its boundless energy ... for a while, anyway.

If the most engaging and satisfying documentaries about musical acts tend to come from filmmakers who are smart, passionate fans, that rule perhaps applies doubly when the subject is obscure rather than world-famous. So it is with Revenge of the Mekons.

Probably a lot of people who see this film will get fed up with Gili's passivity, but some people in life are passive in a way that feels like a defiantly inactive reaction to ill treatment. These boys don't view her as a person with feelings, but Gurfinkel's film does.

With a tender spirit, gorgeous Tulum locations, and a poetic, dialogue-driven calmness, Pritzker’s “Ex-Husbands” is a surprising delight, astute and humorous about humans that both lived a long life and are just starting out their adventure. It’s a movie that looks back and moves forward, with grace and wisdom.

The entire movie feels like something out of a dream, probably one that struggles to work through something real that keeps getting hijacked and twisted by the mischievous unconscious.

A movie like Make Your Move rests on the success of its various dance sequences, not its plot. And the dancing here is exciting, innovative, and specific.

Vibrant, silly, and unwaveringly vulnerable, “Pools” is an invigorating party movie whose non-stop reverie uplifts its protagonist’s downcast spirit.

The film grants hope for the women of Iran through its thick-skinned subject, putting her resume and grit on display. But with sharper editing and a bit more eagerness for the personal, “Cutting Through Rocks” would supersede general hopefulness for a more intricate touch to the heart.

Not Without Hope is a respectful and impactful dramatic interpretation that feels true to the real-life events.

It’s simultaneously a parody of American middle-class notions of contentment yet at the same time a disarmingly sweet and sincere endorsement of it.

Cyrano gets the big things right, and Dinklage embodies it all.

The film’s sci-fi tone holds best, not when the McManus brothers try to explain the technological components, but when these characters’ find solace in their shared trauma.