While it doesn’t measure up to some of the director’s greatest such as “In Darkness” and “Washington Square,” Spoor makes an unmistakable political statement nonetheless, with Holland’s lens capturing the heart and soul of the animals some of the film’s despicable characters cruelly disregard.

Annette is an exhilarating and exuberant experience.

Clarke, who has skillfully brought other complex and compromised males to life in “Zero Dark Thirty” and “Mudbound,” is wholly convincing both physically and vocally as the surviving Kennedy brother. One wishes that the movie itself allowed him more performing room than it does.

Casta and Garrel generate wary warmth as a couple rediscovering each other, while Depp and Engel provide the comedic ballast.

This is a film fueled by writing and performance. Writer Micah Bloomberg’s script ingeniously incorporates the movie’s themes into its structure, and Qualley and Abbott—but especially Qualley—playfully keep the audience guessing throughout.

The Homestretch invites you to empathize with its subjects, to worry with them, to laugh with them, to worry about them. It’s engaging and compelling viewing.

The film is, though, a fascinating account of a man who plays a role in order to hide the reality of his life.

The Christmas-themed home-invasion movie Better Watch Out starts out as one kind of unpleasant, then switches gears to a higher level of unearned nastiness.

This is an ambitious and enlightening documentary, filled with wisdom and asking great questions, some of which may never have a satisfying answer.

The problem with this frustrating, formless movie is that Davidson’s leading man simply isn’t that interesting, and the film that should chart his trajectory ends up stolen by the people around him. Marisa Tomei, Bill Burr, Pamela Adlon, Bel Powley, Steve Buscemi — I wanted to follow each of them to their own movies and leave this disappointing one behind.

The result is a film that feels deeply personal, and not always in a good way. It’s a film that can’t help but feel a little like an invasion of privacy.

Drop Dead City marshals a tremendous amount of information and footage, moving at a swift clip with the help of well-chosen interview snippets and deftly cut montages.

A meeting of “Leave No Trace” and “Hell or High Water,” “Sovereign” is a thought provoking political work whose sympathetic eye is given focus by its potent cast.

Shortcomings is a wickedly funny, absorbing character study and solo feature directorial debut by actor Randall Park (“Fresh off the Boat”). In the hands of Park, Adrian Tomine's graphic novel (adapted here by Tomine) finds cutting new dimensions in the miserabilism of an unabashed assh*le.

It inadvertently puts Hawke in the position of having to carry a film that's more of a series of half-formed notions, some intriguing, others ill-advised, and a few verging perilously close to cute.

The Great Hack will be catnip for data wonks and mathematicians, but I sense its desired purpose is to be a cautionary tale for the general viewer. I think it’s a tad too long and a bit too wishy-washy when it should be angrier, but I was fascinated by it for a very specific personal reason.

While Stuber’s film acknowledges the soul-sucking nature of these colorless environs — at times, the enormous yet empty aisles resemble a ripe setting of an after-hours zombie apocalypse — the filmmaker loves his characters so much that he can’t help but prioritize their humanity that rises above the surface of it all.

Hinging on the nitpicking anxieties of the true crime genre, “Strange Harvest” maintains an air of abject horror, even if its penchant for ease nudges focus out of the way.

You feel you are running alongside the characters, trying to catch up with them on their journeys forward.

Haupt’s film moves along agreeably enough for a while, and the intercutting between the film’s real-life subjects, now at an advanced age, and their dramatized adventures almost 60 years ago, convincingly creates a rooting interest.

Strains to be a psychological thriller but its length (102 minutes) dissipates the tension that should be taut and compressed.

Southwest of Salem has an investigative questioning bent, but it is always clear in its attitudes about the four co-defendants. It is a powerful act of advocacy. It's hard to look at these events in any light other than that a terrible miscarriage of justice has taken place.

Unfortunately, Lucy Walker's Buena Vista Social Club: Adios plays more like a well-intentioned but unsatisfying addendum to Wenders' movie and Cooder's recording.

While A Master Builder never really catches fire as a film, it is still more or less worth watching.

The Green Prince gets its power from the back-and-forth of listening to each side tell its story, and from the moment the two sides converge in a final, very different collaboration in the United States.

The result is a sprawling urban drama with eruptions of violence.

It’s been a long time since there’s been a rom-com with two stars as straight-up likable and easy to root for as Seth Rogen and Charlize Theron are here.

The result is a movie that ambles and takes its time, never revealing where it's going.