Samaritan proves, to paraphrase Tina Turner, that we don’t need another superhero.

Breaking is a tragedy that only opens like a thriller. From the beginning, Breaking is about justice.

The sheer too-much-ness of Alienoid could have easily been wearying, given its many tangents and supporting characters. Thankfully, writer/director Choi Dong-hoon confirms his hitmaker reputation by balancing over-inflated set pieces with disarming screwball comedy and delightful character actor performances.

This is Owen Kline's first feature, and he knows this world—the world of comic book obsessives and hopeful comics artists—very well. Nostalgia is probably at work in the film—somewhere—but it's buried under layers of grime and bitter disillusionment.

Both the artist Lil Baby and the film about him pursue a deeper gratitude and respect for both this rap star specifically and the genre itself.

Me Time has some structural problems that drag the story, taking too long to reintroduce Huck in the second act, and littering the overall canvas with too many side players throughout. But it comes with enough rewards nonetheless thanks to an idiosyncratic group of lovable people who just need to get a little crazy in order to survive as their true selves.

[Miller's] mastery makes the movie eye-popping; his freedom and audacity make it surprising and unsettling.

Listening to these people grapple with Proust’s work and relate it to their own individual lifetimes of experience is often fascinating.

Bianca Stigter's documentary Three Minutes: A Lengthening is a great film about filmmaking and a quietly devastating memorial for lives long gone.

I suspect people want to be distracted by something that makes them stand up and cheer. “Beast” serves that purpose well-enough.

Baena is obviously having fun presenting the familiar tropes and then subverting them, but these pieces don't really fit together, nor do they lead to a satisfying conclusion.

This is a frustrating documentary, in that it honors the work of its subject with wide-screen cinematography and leaves-crunching sound design, but as a viewing experience cannot shake the overall feeling of a dirge.

The movie has an aura of indie navel-gazing that kept me at arm’s length.

Skillfully weaving in themes of race, gender, abuse, and historic injustice while making each character authentically human, the film calls on us to consider the human strength and the human cost of history.

There are opportunities wasted here to dig into family roles and class commentary, but that’s often overcome by how much fun Furhman and Stiles seem to be having in the film's second half.

Even at a brisk 79 minutes (including credits), “Glorious” feels like an intriguing idea that’s been stretched thin to feature length.

This is John Patton Ford's directorial debut, and it is an extremely impressive piece of work.

Everyone in this cast does their best to strike the right balance between seeming in on the joke and acting like all of this bloody absurdity is normal.

While Girl Picture isn’t necessarily breaking any new ground, this sensitively rendered dramedy invites viewers into the world of three young Finnish women on the cusp of adulthood with an affection and mellow sense of humor that makes it a more than agreeable cinematic companion.

I was blown away by the film’s use of mostly archival news footage after its premiere at Sundance earlier this year. Upon a second watch I found it even more compelling the way Perkins, and editors Jinx Godfrey and Daniel Lapira, expertly deploy this footage to tell not a biography of ‘The People’s Princess,’ but rather of the way the media shaped the perception of her public life.

Sadly, the concept only takes “Fall” so high, and the execution, including some ineffective acting, editing, and other technical choices, makes this a misfire. It doesn’t exactly crash to Earth as much as drift off into the forgettable air of film history.

Chol Soo Lee’s complicated story deserves to be told; this film does a good job telling it.

Secret Headquarters is as bland and forgettable as its title would suggest. It’s so generic, it almost sounds like the name of a better movie translated awkwardly from another language into its simplest terms in English.

Yuasa's adaptation of Furukawa’s book is half-thrilling and half-underwhelming.

The more heightened aspects of this genre piece don’t feel of place thanks to both lead performers operating with remarkable subtlety.

The nostalgia of Ponsoldt's film is curdled and rotten underneath its summery sheen.

The film's promising setup and excellent cast are let down by a script so forgettable that even to try to summarize it is to feel it dissolve from memory.

The direction is efficient and coherent. Arterton has been lately choosing roles that emphasize flinty self-determination over movie-star charisma, and she’s getting better at them all the time; this is one of her most credible and engaging portrayals yet. James Norton is equally impressive.