The voice talent and character design are second-tier, and there are too many characters. But the action scenes are exciting, and the pacing, along with its reassuring humor and some nice character arcs, makes it a mildly appealing watch.

She Walks in Darkness can be a little confusing at times, and that’s probably intentional as we learn things alongside our conflicted heroine. But the fact that everyone believes what they’re doing is right is a notion that’s clear and complicated.

Truth & Treason is a staid drama whose observations about Helmuth could easily be summed up in a quick encyclopedic blurb.

This is a good film, but change would be a much greater achievement. How much longer must we studiously document senseless suffering?

Condon’s “Kiss of the Spider Woman” is a reminder of what a great on-screen musical looks and feels like.

The moving parts of this thriller are subservient to nailing plot points down on a bulletin of perfectly wound red twine. On account of this, “The Woman in Cabin 10” entertains enough to pass the time, but certainly doesn’t thrill.

This is an honest, real movie about people living big lives during tumultuous times, and coming through damaged but wiser.

It’s a film that’s as aching as it is defiant, reflecting its diverse subjects.

Inspired by tales of people on the fringe by Mike Leigh, Sean Baker, and the Safdie Brothers, “Urchin” stays committed to presenting Mike’s story without frills, recognizing that it’s just a tragically common one of a man spiraling down the drain of society.

With Sachs’ painterly compositions and Whishaw’s deceptively effortless performance, “Peter Hujar’s Day” is a surprisingly beautiful and subtle tribute to the balancing act it takes to be a working artist.

While casting Glover as a reluctant everyman takes admirable chutzpah, there’s not much to “Mr. K” beyond its second-hand surrealism and strained counter-mythmaking.

This movie knows what to do and how to do it. It’s as no-nonsense as the soldiers and the underwater killing machine it pits against each other. Shark movie fans, take note. There’s a new must-see in the movie ocean.

It’s as if Bertino the director knows that Bertino the writer hasn’t done quite enough to engender audience interest in Polly’s plight so he seeks to pummel the audience into terror instead of drawing them in.

Stiller & Meara is a fascinating window into not only the history of this famous family but also the beautiful and punishing nature of performance itself.

TRON: Ares is spectacularly designed, swiftly paced, thoughtfully written, and directed within an inch of its neon-hued life.

The Librarians is a documentary about the hysterical, unfounded, personal, and sometimes violent attacks on librarians. It is also about their unwavering commitment to making facts, literature, and inspiration available to anyone.

In fairness, Maron doesn’t provide Feinartz with the raw material to make the kind of movie it seems he wanted to make. We get the feeling that, over the course of participating in the project, Maron realized that he and the filmmaker were not an ideal match.

While Mercedes Bryce Morgan’s newest film, “Bone Lake,” doesn’t necessarily break new gory ground in the category, it’s a fun, messed-up horror thriller playing with both familiar tropes and modern-day anxieties of love, sex, and finding out that someone has booked the same rental home for the weekend.

Good Boy could easily devolve into merely being a gimmick. But Alex Cannon and Leonberg’s dialogue-light script is aiming for more than DTV silliness. They’re making a movie about heart, loyalty, and friendship.

This is a project for and by those who have experienced inhumanity firsthand yet refuse to have their voices snuffed out by a corrupt institution.

The evil that men do, a character says near the end, “tethers us to proof of the divine.” That Crowley packages these ideas in such a bleak, bloody curiosity as this is something to celebrate.

We experience the sharp pain of a sad loss, a young father and a beloved neighbor and friend. But the larger story, the one about the failure of the Israeli military to respond quickly, about the normalization of having to have a safe room in every home, about the culture of a country where every citizen serves in the military, and about the return to Murrow’s perceptive warning 70 years ago is what we will carry with us.

Anchoring it all is the ever-great Moss, who is also a co-producer on the picture. The actress is always heartbreakingly good playing character forced to endure a lot of humiliation, and in this scenario, she gets it coming and going. She illuminates the serious mess that this farce is about, underneath it all.

This is not so much a film you watch as one you wake up from, shivering.

Although it has a solid cast, some amusing bits, and lots of imaginative violence, “Play Dirty,” a comedy-thriller-action movie about the theft of already-stolen treasures in a plot to topple a dictator, is easily the most forgettable of Shane Black‘s films, as both writer and writer-director.

Anenome is Ronan Day-Lewis stretching his canvas beyond his background in painting, and while there are some interesting crossovers between the broody visual style and eye-catching surrealism, he still has much space to fill.

Sometimes, we should be made uncomfortable. And that is, in the end, what “After the Hunt” attempts and mostly succeeds in.

Goldstein and Poots’ chemistry is authentic, and without it the film wouldn’t and couldn’t work.