It's so bombastic that it makes "Batman v. Superman: Dawn of Justice" seem modest.

Asili experiments with cinematic form as he considers “inheritance” as legacy, heritage, and tradition, resulting in an engrossing, challenging film that allures and confronts you in equal measure.

It is an entertaining, family-friendly romp with wish-fulfilling yeses, extended comic mayhem, and satisfying consequences.

Although Trust gets off to a shaky start, once the players are introduced and the flirty game’s afoot, it’s a mostly fun ride.

The pacing is sluggish, the script is crammed with both incomprehensible technical gobbledygook and lazy, sexist jokes, and the visual effects are laughably cheesy. My kid could make a more dazzling space movie on his iPad.

Unfortunately, many of the most compelling elements of Still Life in Lodz are bogged down by distracting filmmaking flourishes.

While Own the Room succeeds at offering a captivating look at its incredible subjects, it also avoids more complicated questions about how we can best support young people and help them achieve their dreams.

Burns doesn’t delve into Sarah’s emotional psyche as deeply as one craves throughout Come True. The somewhat maddening twist ending—more a copout than genuinely earned—excuses some of that misstep, but only artificially so.

[A] well-intentioned but only partly satisfying film.

How can a movie this visually glossy be so devastatingly uninteresting and dull?

Lo wants to make a point, obviously, but I came out of this picture with some questions. And I also thought of an observation made by the music critic Robert Christgau, a metaphorical point addressing a type of artistic preciousness: “If I found a cat trapped in a washing machine, I wouldn't set up a recording studio there—I'd just open the door.”

My Salinger Year sometimes drags and falters with questionable tonal shifts. But it’s never a complete waste of time to witness a young woman grow into her voice on her own terms, especially when her canvas is this cinematic.

Not all the pieces of Boogie fit neatly together, but it’s a film about a family that doesn’t fit inside the box of a standard inspirational immigrant story.

Boss Level compensates for its overstuffed scenario and relentless derivativeness—actually, it makes you stop caring about its relentless derivativeness—with concentrated fast pacing and breakneck action.

Thankfully, despite its creators’ general fussiness, The Truffle Hunters is good enough, if only because guys like Carlo and Angelo are more charming than they are eccentric.

Jasmila Zbanic’s Quo Vadis, Aida? is a razor-sharp incrimination of failed foreign policies from around the world embedded in a deeply humanist and moving character study of the kind of person that these policies leave behind.

Coming 2 America is like attending your high school reunion: You’ll enjoy seeing the familiar faces of those with whom you once shared such fond experiences, but then you’ll realize that the nostalgia of that past is far more fulfilling than the harsher realities of the present.

For all that goes into making a movie—the prolific Dupieux wrote, directed, shot, and edited this one as with his previous films—the impulsive, scattered storytelling here almost feels like an unrewarding and contrarian statement to such hard labor.

The crime comedy Pixie dissolves in the mind as you're watching it. You've seen it before. And the "it" you've seen before is the most derivative version of "it."

Once you're immersed, it's a powerful experience that lingers in the mind long after the film's many disappointments have started to fade.

Stretched out to 90 minutes in Sponge on the Run, the pacing lags, the goofiness sags, and you discover over time that there’s not much holding these antics together.

Lucky indulges in all of the horror movie "tropes" but it does so with a purpose.

Moxie doesn't have the satirical bite of, say, Mean Girls, nor does it have a particularly punk rock energy, but Poehler does an admirable job keeping things moving.

Nearly every scene in Sophie Jones is either meditative or combative in some way, and Barr nails the flickering, shifting, visceral emotions of adolescence.

What’s most rewarding about curator Sam Abbas’ short film collection, Erēmīta (Anthologies), is in how it magnifies the ways in which all of us, regardless of where we live, have become intrinsically connected by the challenges of this unprecedented era.

The documentary's best material, other than the archival stuff, comes in how it flirts with an analysis of Wallace’s musical inspirations like his Jamaican background and what he took from a jazz musician who lived down the street. Sadly, there’s too little of that, and too many rhymes that we’ve heard before.

It's an ambitious family film that will work for all ages, and one that never talks down to its audience while presenting them with an entertaining, thought-provoking story. It also contains some of the most striking imagery Disney has ever produced, dropping its characters in a world that feels both classic and new at the same time.

I admire the intentions behind Cherry. I even admire the Russos' desire to "do one for themselves" after directing so many films in a corporate-driven context. But Cherry warrants a simpler down-and-dirty approach.