While I rather doubt that co-writer/director Yuval Adler pitched his new picture as “'Death and the Maiden' meets ‘Leave it to Beaver,’” that sure is what he ended up with, conceptually at least.

The various praiseworthy elements of The Devil All the Time ultimately override the feeling that they aren’t quite cohering into a great movie overall.

Textured in ways that family entertainment is rarely allowed to be and even more visually ambitious that the other Cartoon Saloon films, this is a special movie.

From the beginning of Ammonite, writer/director Francis Lee trusts his lead performer to convey an incredible amount without dialogue. And that trust pays off in one of the best performances of Kate Winslet’s career.

A movie that finds poetry in the story of a seemingly average woman. It is a gorgeous film that’s alternately dreamlike in the way it captures the beauty of this country and grounded in its story about the kind of person we don’t usually see in movies. I love everything about it.

At some point, the movie forgets comedy and dwells on cruel calamity. It almost makes one wish García Bernal could reboot it, with a more polished text.

Our Time Machine leaves you wanting a whole lot more, and that’s not necessarily a bad thing.

Rich in impulsive sensuality and knowing humor, the film captivates even as it stumbles through too many subplots. It’s a tad convoluted but never dull.

I Am Woman is a start in the right direction. However, based on this film you might think that the most interesting thing about Reddy is that she married her manager who then got addicted to cocaine. It's a frustratingly shallow approach to a singer who deserves better.

All In: The Fight For Democracy is a valuable public service wrapped in an educational, informative and engaging documentary.

For all the nostalgia that comes with seeing David pop in a VHS tape, the movie’s time period allows Stevenson to focus our attention on the horror emitting from just one screen.

Geraldine Viswanathan has been steadily working her way through the coming-of-age subgenre, on her way to becoming a star. In the open-hearted romantic comedy The Broken Hearts Gallery, the charismatic whirlwind of an actress is vivacious and lovable.

No one expects The Babysitter: Killer Queen to be anything other than your basic escapist entertainment, but it fails even at this modest goal. It's a defiantly stupid movie, with references so bizarrely dated that it verges on fascinating.

The movie is so much more nuanced and bold than the first wave of outrage charged. With Cuties, Doucouré announces herself as a director with a keen visual style who’s unafraid to explore these cultural and social tensions.

The film's solid grounding in friendship and comic teamwork carries the day. Unpregnant becomes more affecting as it goes along thanks to the sincere, committed, and mostly unaffected lead performances by Richardson and Ferreira.

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?”

David Byrne’s American Utopia is a joyous expression of art, empathy, and compassion.

It’s a fun soulful documentary that’s rarely ever invasive, depicting the type of statesman we’re sorely missing today.

The most important lesson from The Social Dilemma is that we should question everything we read online, especially if it is presented to us in a way that reflects a detailed understanding of our inclinations and preferences.

Pepe was been turned into something he was never intended to be. His creator and steward didn't realize what was occurring until it was too late to halt or reverse it.

Based on the Shakespeare play of the same name, Paul Ireland’s Measure for Measure is filled with drama, although perhaps not the kind you’d expect from the Bard. No, this is a modern-day adaptation—one grappling with xenophobia, drug addiction, and gun violence. There are no period costumes here, but there’s a stone-faced Hugo Weaving to make up for it.

There are some very funny bits here, but unfortunately the concept takes too long getting off the ground, leaving the first three-quarters of the movie floating in limbo, waiting for it to all make sense.

Loosely based on the graphic novel Une Nuit de Pleine lune, The Owners doesn’t feel new or groundbreaking by any measure. Still, this increasingly bizarre film is grisly and absurd in all the right, self-aware ways; qualities that the comparable (and far superior) “Don’t Breathe” also possessed as another recent horror film that turned the tables against its lowlife aggressors.

I am always game for a movie that makes me reckon with my personal feelings and biases, and I’m glad this one exists because representation will always speak volumes. If nothing else, Critical Thinking reminds you what a chess player can look like.

The trip to a remote farmhouse is just the narrative skeleton on which Kaufman hangs arguably his most challenging film to date, a piece that verges on Lynchian in its surreal register, moving back and forth between reality and a dreamlike commentary on connection, although there may be even less of the former than it first appears.

It’s steeped in traditional cultural locales and details, yet feels bracingly modern with the help of dazzling special effects and innovative action sequences.

Love, Guaranteed is the kind of movie you leave on the TV because you’re lying on the couch with a cold, and the remote control has fallen off the blanket onto the rug, and you don’t feel like going to the trouble to reach down, grab it and change the channel.

Children of the Sea is consequently yet another animated fantasy based on hackneyed tropes, like sprite-like martyrs, the guiding hands of fate, and vague nostalgia for a pre-technological past.