In writer/director Chad Faust’s Girl — a wobbly and desperately unimaginative mesh-up of contemporary noir and a Southern-fried tale of ancestral trouble — Thorne continues to broaden her range, serving up a quiet performance of emotional burden and impressive physicality.

Regardless of one’s whereabouts or knowledge of the Great White North, viewers will likely find this comic fable chillingly relatable, as the world teeters on the brink of totalitarian collapse.

The movie’s off-putting and constantly foregrounded political agenda wouldn’t be so unpleasant if the action scenes were more plentiful and/or thrilling. They aren’t.

The highlight of the film is the trial. Van Meegeren insists he was not collaborating with the Nazis; he was defrauding them. The film takes some significant, unnecessary, and distracting dramatic license and spends too much time on characters and relationships that are not as signifiant but these scenes are powerful.

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.

Alexander Nanau's Collective has a propulsive energy, relentlessly building in urgency and outrage.

It’s a movie that doesn’t just allow for silence but thrives in it, with Ahmed’s eyes and body language charting the arc of his character. He doesn't miss a beat.

This is Friedkin on the movie. And what he does have to say, after all this time and so many articles and movies touching on “The Exorcist,” is still engaging, fascinating, and entertaining.

The documentary vigorously investigates — and subsequently calls out — his integrity as an artist, an associate, and even as a gang member.

As storyteller, Gibney finds a constructive manner to mindfully engage our admittedly bizarre fixation with murder (which would be worthy of a separate doc) while encouraging a more humane way to approach some of society's most violent figures.

A brave, revelatory, and beautifully realized film, it is easily one of the year’s best and most important documentaries.

Since Thunberg is one of the most gifted and arresting speakers alive today, I Am Greta is inherently compelling as a behind-the-scenes document of the vulnerabilities masked by her forceful persona.

While it's unlikely that this film will take up too much time in any future Lifetime Achievement Award clip reels, Dreamland is a testament to the importance of sheer star power to help carry even haphazard material along, at least up to a point.

Raboy manages to pull off several galvanic cinematic effects even as his scenario yields little more than exasperation. There’s enough raw talent on display here that I’m looking forward to his next picture nevertheless.

The result is a film that can be a bit dry when Oppenheimer leads the scientific discussion but that comes springing back to life when Herzog the filmmaker allows his awe to come through the camera.

Gruff and always on the cusp of irate, Gibson is fine as this twist on Santa, but his performance, like the whole of the movie, simply rides on a single, warped idea. The slightly clever gimmick and simple plot are the true stars of Fatman, a movie that misses out on a whole lot of what could have been.

As with the many trend pieces complaining about millennials spending too much money on avocado toast over home mortgages, Echo Boomers gets a lot wrong about the generation it wants to discuss. Maybe the filmmakers should have listened more.

Come Away evokes memories of “Radio Flyer,” the equally appalling 1992 child abuse drama where fantasy and cruel reality merged in ways that were shockingly offensive.

"The Last Movie Star" paid tribute to Burt Reynolds' career, but also appreciated what he brought to the table as an old man. The Life Ahead operates the same way, allowing Loren similar grace and space.

Thoroughly grisly and mostly entertaining, “The Mortuary Collection” is a satisfying choice for the spooky season.

It's not a great or even particularly distinctive movie, but it's heartfelt and plain-spoken enough that it might connect with viewers whose families have dealt with addiction and recovery, domestic abuse, financial deprivation, and other problems highlighted in the story. Advertisement

Freaky is a fun, frisky, and nostalgic ride that delivers laughs, various inventively bloody kills, and on occasion, even some 21st-century-appropriate observations on gender norms and sexuality. Just don’t expect to be surprised a great deal by it.

Throughout, Coded Bias constantly feels like it's not recounting a saga that’s like grounded science-fiction, it’s making us aware that we're square in the middle of one.

All you need to know is that this slow-moving, sci-fi origin story was made by Norwegian co-writer/director André Øvredal, the man who previously gave us the far more entertaining “Scary Stories to Tell in the Dark.”

Without giving too much away, suffice to say that there's a reason why human beings have traditionally described doing work on one's own psyche as wrestling with demons.

I think the most productive way to look at Mank, a new film about Hollywood in the 1930s and ‘40s, and about the screenwriter of a particularly famous and iconic work, is to understand it as Fincher’s most playful work.

It certainly doesn’t help that Tobias and Elin are entirely banal characters with nothing to define them but their loss.

The most frustrating thing about the British prenatal horror movie Kindred is not that it’s impersonal, but rather that it’s not personal enough.