A charmingly filthy, albeit rather amateurish stab at making a macho action-hero persona out of Moore's stand-up sensibility.

Just when you thought the zombie genre was out of ideas, along comes Colm McCarthy’s smart and engaging The Girl with All the Gifts, a film with echoes of George A. Romero, Danny Boyle, and Robert Kirkman but one that also feels confidently its own creation, a unique take on responsibility, adulthood, and a new chapter in evolution.

Expect to be moved to tears during this reflective film as clear-eyed as Souza’s photo books, reliving the memories of dignity that once piloted the country and often pondering, “How could we have gone from this to Trump?”

Grief and loss can take hold of your soul, not unlike a possession; what Clapin explores here is the temptation of reconnection, and what that oft-impossible yearning can do to a person.

You’ll be able to figure out where Run is headed pretty quickly, but that doesn’t detract from the precise thrills and campy fun along the way.

It’s all the more disappointing when a techno-driven montage of dark imagery kicks in or some other choice that feels cheaper than this movie needed to be. No Man of God ultimately sinks into the shadows of so many similar and superior projects, and it feels cheap. It just doesn’t have enough to add to the conversation or a strong enough artistic POV to justify its shallowness.

This is a movie that is too frenetic and basic to make a substantial impression. I appreciated a kernel of observation here and there, but not enough for me to give it a whole-hearted embrace.

Nina Conti’s delightfully crude and disarmingly heartwarming directorial debut, “Sunlight,” adds an intriguing hook to the two-wayward-souls-on-a-road-trip subgenre.

It’s not an especially deep script in terms of character, but there’s something inspiring about seeing a comedy production in which everyone is on the same page, harmoniously working off each other’s personalities like a choir.

Nancy exhibits a seriousness of purpose that’s rare in American movies today.

Watching the scientists research the mysteries of humpback whales is an inspiring tribute to the power of curiosity, purpose, and the triumphant joy of adding one more piece to the jigsaw puzzle of knowledge.

As an evocation of on-the-ground political reality, The Final Year is a a solid and often entertaining work in much the same wheelhouse as the durable political documentary "The War Room."

On paper, Wild Canaries sounds like it has all the ingredients for a reasonably diverting comedy, but they just never quite pull together into a cohesive or entertaining whole.

It isn’t bad, per se, but I just never felt the emotional impact it's clearly hoping to achieve.

As awe-inspiring as this footage is, it’s every bit as amazing to envision how the filmmakers had to prepare for framing these moments with impeccable precision.

While there can be an artificiality to monologues, the raw and complex contradictions each character contends with are rooted in emotions that never once ring false, and the actors bring an authenticity that transcends treacle.

To be fair, “Smile 2” does lose some of its many thematic threads about how fans feel like they own pop stars and how so many of them are asked to bury their trauma and just smile, but enough remain in the foundation of the piece to get it across the finish line.

The tone starts out bleak and steadily darkens. The movie is sometimes fascinating, though—particular in the early stretches, before the dominos of catastrophe start to fall, and the little details of the characters' relationship and their world are replaced by a constant fear of getting arrested or killed.

While this isn't another Garbus documentary, she’s made a film with all the power of great non-fiction storytelling, and found a way to make the emotional message of this story hit home in a way that it wouldn’t have otherwise.

With robust direction in an incredibly confined space and Laurent’s phenomenal work, Oxygen should feel like a breath of fresh air for people looking for something to watch on Netflix. (Sorry.)

Ultimately, Mortimer and Rosen’s film succeeds most as a sincere, wonderstruck tribute to a fellow climber. And if glorifying a sport as lethal as alpinism itself runs a kind of risk, there’s no denying the heart-in-mouth thrill of watching Leclerc in the zone, following an impossible dream and, on his own terms, touching the sublime.

The most enchanting thing about “ChaO” isn’t necessarily its hyperpoptimism, but the many little ways in which its breezy and arresting style reflects its creators’ lightly held Utopianism.

Barbershop: The Next Cut belongs, as the entire series does, to Cedric the Entertainer.

The Book of Life bedazzles your eyes and buoys your spirits as it treads upon themes most commonly associated with the macabre universe of Tim Burton.

Gleefully high-concept and defiantly low-budget two-hander.

The number of important, enduring 1960s and early ‘70s songs that a group of studio musicians known as The Wrecking Crew brought to life is staggering.

Titely’s feature debut does an admirable job condensing the show into a powerful hour-and-change saga.

Generally speaking, the museum seems like a modest, but vividly-detailed freak show.