The Lost King gets sidetracked. Still, it's a great story!

This is one of those movies that shows rather than tells—always preferable, even in the moments when the big picture is still coming into focus.

French writer/director Léa Mysius concocts a compelling witch’s brew with The Five Devils, but the result doesn’t quite come together with the potency she’d desired.

While Hedlund’s character eventually melts into the kind of dissolute puddle that Hedlund has made performance meals of before, no real dividends are paid off on the viewer’s investment of time.

More detailed critical or historical context might have enhanced director Amanda Kim’s already informative and loving portrait of Korean video artist Nam June Paik. But there’s so much in Kim’s movie—especially in actor Steven Yeun’s voiceover narration and talking head interviews with Paik’s colleagues and contemporaries—that this account of Paik’s working life still resonates.

It was and still is a pleasure to see a film that gives actresses characters and storylines that do not reflect or depend on the men in their lives.

The film doesn't burden pinball machines with more meaning than they can stand. Pinball: The Man Who Saved the Game is strictly low stakes. This is part of its knowing charm.

Thankfully, there's a considerable nasty streak that runs throughout Furies, and it isn't limited to the movie's antagonists.

Money Shot: The Pornhub Story is a porn-positive documentary, and its ambition to discuss all ugly shades of the issues boldly makes it fascinating and anti-provocative.

It’s schtickier and less assured than the first “Shazam!” but these leftovers still reheat well enough.

While the tonal shifts from melodrama to mordant comedy don’t always work, Fonda and Tomlin are as good as they have ever been and Moving On proves itself a powerful rumination on the strength it takes to age—mentally, physically, and economically.

Austrian filmmaker Ulrich Seidl is one of the world's best directors of actors, and he nears some kind of a peak in Rimini, a blisteringly funny and often touching film about people struggling towards happiness despite having experienced lifetimes of disappointment.

The film has its moments, and Dafoe certainly gives it his all, but there's a hollowness that ends up rendering the whole thing fairly forgettable—the cinematic equivalent of a piece of art you buy only because it goes well with the couch.

Quivoron, who co-wrote Rodeo with Buresi, often switches gears between character study and a heist movie, creating an uneasy whiplash.

The corridors of power are narrow and spider-vein-thin in Full River Red but still well-traveled and precisely navigated by Zhang and his well-synchronized collaborators.

A terrific cast can only do so much with superficial, maudlin material in the coming-of-age dramedy Wildflower.

Stories for children often emphasize courage or teamwork, being yourself, following dreams, or the importance of friends and family. What The Magician’s Elephant adds to that is something rare in films for any age: how to think through problems.

Ruskin succeeds in paying tribute to Loretta McLaughlin and Jean Cole's hard work, but it's less successful in filling in the larger story.

It's so repetitive that it will make you want to pick up your phone while it’s playing on Apple TV. You should play Tetris.

Once it gets out of its own way and gives the audience what they came to see, Evil Dead Rise is an absolute blast.

Trust me. It was worth the wait. Stahelski and writers Shay Hatten and Michael Finch have distilled the mythology-heavy approach of the last couple chapters with the streamlined action of the first film, resulting in a final hour here that stands among the best of the genre.

The truth is that manufactured spontaneity is almost impossible, and too much of “Honor Among Thieves” feels like it’s unfolding with a wink and a nod instead of being legitimately rough around the edges, in-the-moment, and fresh.

Director Abrams excels artistically while unveiling the sordid details of this doc from every single vantage point with no holds barred.

The movie does not live up to the eternally enchanting music, but it serves as an enjoyable delivery system for experiencing it again, which is magic enough.

Stonewalling is a moving slow burn of a character study, as well as an examination of female stagnancy, personally and politically. There is a striking, human sense of suspense to the film as we worry for Lynn, and root for her to find her power.

Some of Unwelcome is legitimately creepy and upsetting. Some of it is hilarious. Whether or not the hilarity is intended is unclear.

As Vázquez keeps adding elements in its last half hour, Unicorn Wars starts to feel like the beginning of a trilogy, or maybe a TV series that got canceled unexpectedly and had to wrap up its storyline in a handful of episodes.

You’d think a movie in which Adam Driver fights a bunch of dinosaurs couldn’t possibly be boring, but that’s exactly what 65 is.