Zahn is excellent in these tender moments, demonstrating his acute ability to imbue such stories with a deep well of feeling without a false or exaggerated note. There’s also something really beautiful about a dad watching his daughter excel.

The case itself ultimately proves less an involving puzzle for the audience than a lesson for Holmes in humility.

Worth seems to get it, all of it, in a way that films of this type rarely do, which makes it all the more irritating when it appears to retreat from the implications of the way it's telling its complex narrative.

Justin G. Dyck’s very smart movie lures viewers in with its clever concept and instantly strong characters only to present them with the kind of nightmare fuel that would impress Clive Barker.

If “Palestine 36” is indeed a filmic history lesson, it’s one worth sitting through. That a traditionally realized historical drama with impeccable production value and consistently effective performances centers the Palestinian perspective makes for an essential endeavor.

It's suspenseful, but also hilarious.

By expanding the play’s world, Gaines opens himself up to new scrutiny. Beetz does the best she can with a thinly drawn character, but it’s hard not to wonder what The Dutchman would look like if Gaines showed any real interest in her.

Gabriel isn't a perfect movie, but it's a great reminder of what movies can do, and used to do often, until American movies decided to concentrate mainly on spectacle and franchise building and leave characterization to TV.

Blink Twice sucker punches the audience with its sexual violence and then fails to find intelligence or dexterity in its handling of it or any of the themes running adjacent.

In spite of its abundant action — and for all the interspecies mashups, this is as much an action-adventure animated movie as it is a funny-animal animated movie — is a pretty relaxing experience for the adult viewer.

Mary Tyler Moore knew how to play confident, happy, honest women early in her career, and it is good to see how she finally learned how to be one.

Speak No Evil is a throwback to the 1980s-’90s era of medium-budget thrillers like “The Hand that Rocks the Cradle,” “Unlawful Entry,” and “Fatal Attraction,” in which representatives of supposedly respectable bourgeoisie society were menaced by dangerous outsiders who smelled weakness in them and/or wanted to punish them for their sins, perceived or real.

Uniformly strong performances help ground the story. Tremblay, who showed instincts beyond his years in the devastating 2015 drama “Room,” provides both a sweetness and an intelligence to his 10-year-old character that make him accessible even when he’s wearing an astronaut helmet to hide his face.

What’s fascinating about Jimi: All Is By My Side is not only its decision to show us this particular chapter in Hendrix’s life, but also the way it teases out the shadings in a famous figure we only think we know so well.

The dimension of humanity only buttresses the humor.

The resulting episodic narrative is light on dialogue and heavy on ambiance; it's precise to an unsettling degree since a number of scenes start and stop whenever Lizzy can feel her way in and out of them.

Borgman can sometimes frustrate but it is an accomplished piece of work, driven by a uniquely malevolent tonal balance and two fantastic central performances. It sometimes simmers when I wish it would boil over but damn if it isn’t fascinating to watch the water bubble.

Minihan’s stylish film taps into our deepest fear as women, queer folks, or survivors of domestic abuse that the person we love may be the reason we end up in a body bag.

Burman's film languishes on the chaos of the events, and it can never be accused of not having some ideas about fatherhood and legacy. But the humor of this rambling film runs dry to the point of unpalatable.

A welcome surprise for sports cinema, The Phenom handles itself like Robert Redford's "Ordinary People" when exploring the psychology of a Lebron James or Johnny Manziel-like sports sensation.

The plot description is a good old-fashioned okey-doke, a distraction that lulls you with its absurdity so you’ll be blindsided by the lean, suspenseful and effective movie director Jon Watts delivers.

Here, [Ruben] lets loose with many of the goofy, creepy impulses that make him such a welcome voice in crowd-pleasing horror, creating a giddy spirit with his long roster of future household names.

Religion can provide some solace, but it can also complicate matters. Science can explain the natural processes, but even then, it cannot account for every detail in every situation. To Dust is about those contradictions and, in the end, about the ultimate one: that, to some questions, the only logical and spiritual answer is that there isn't one — except whatever we make of it.

At its best, The Lost Arcade captures the sense of competition, community and commitment by these people, many of whom saw Chinatown Fair as not just an escape but a home.

In its lumpy-porridge way, this film makes a better case than any other Marvel picture for the notion that quarter-billion-dollar-budgeted, CGI-festooned slabs of multimedia synergy can be art, too, provided they're made by an artist with a vision, and said artist appears to be in control of at least part of the production.

This intimate Irish drama travels a road that'll be familiar to anyone who's ever seen a film about addiction, or known an addict, but the fact that all stories of addiction are essentially the same doesn't blunt its impact.

There are certain varieties of whimsy that either click with you or don’t. I point this out because what didn’t click for me in “Brian and Charles,” a new comedy directed by Jim Archer, might do something for you.

Even with the world-building and direction making for an immersive experience, at times the script gets tangled in its own complexity and “The Kitchen” bites off more than it can chew.