Hanks does his considerable best with Finch’s revelations and confrontations, but the writing lets him down.

Moving from in front of the lens to behind it, the former ‘80s sitcom star clearly has something personal and piercing to say. Her film will surely resonate with so many others who hear their own nagging voices in their heads.

Survival is easier said that done, and 7 Prisoners is a fraught thriller that wonders at the fragility of the human soul.

Though it doesn’t break new ground, Hive still reminds one how urgently significant it is to honor the unique fighting spirit of women, and how much cinematic joy seeing that spirit flourish against the odds can bring about.

If this kind of genre stuff is your cinematic meat, and you’re properly enamored of any of the principal cast members, Swab has enough directorial energy to keep the proceedings watchable at the least.

It's one of those rare films where the title has real meaning, one that grows in power the moment the credits roll.

It takes some chutzpah to name your siege thriller Dangerous, and unfortunately, there’s not enough of it in the Scott Eastwood actioner of that name.

There are some fun ideas and moments in Dead & Beautiful, but Verbeek seems to want to avoid offending anyone with the suggestion that the rich are vampires—which is the premise his movie is built on.

So much money, so much charm, so much movie, and yet it adds up to so very little. Red Notice is as disposable a movie as you’ll see this year, something that most Netflix subscribers will have trouble remembering exists weeks later.

This is a fascinating and pertinent tale, but one major aspect of its telling gives me serious pause.

The mythology here is both dense and frequently silly, with the movie grinding to a halt around the one-hour mark for an extensive information dump. By the end, you may still be unclear as to what’s going on, but you also may not care.

Even measured against the Iranian and international cinematic treasures of the ‘70s, Aslani’s vision is still breathtakingly distinctive, an incisively devastating social critique embedded in a complex tale of intrigue, greed, oppression, and murder. The film is also, and perhaps most strikingly, a stylistic tour de force.

The Souvenir Part II is more, though, than Julie's progression towards a completed film. It could be called, with apologies to James Joyce, A Portrait of the Artist as a Young Woman.

Stanley Nelson’s documentary Attica is a harrowing, infuriating look at racism and the abuse of power by people who see others as inhuman.

Let’s hope the upcoming projects in this fully-formed franchise learn a lesson from this gang of thieves and steal some ideas from better movies.

This one is a mostly likable effort, but it doesn't quite feel like a self-contained movie with a shape and a discernible point; it's more of a collection of material arranged in a way that more or less makes sense.

Snakehead entices you with a lurid premise, but the empathy that shines through the cracks of its tough exterior is the real surprise.

Paranormal Activity: Next of Kin feels less like a chance to creatively reboot a hit franchise and more like a way to cheaply profit off any residual interest left in it.

By and large, though, Only the Animals is an effectively convincing slow-burn thriller that marks the welcome return of Moll, who first made a splash with the wickedly entertaining thriller With a Friend Like Harry.

The first and maybe biggest problem facing viewers when they watch The Spine of Night is its drab and dramatically inert animation style.

It is a slimy, icky, violent film that doesn’t always come together but it also undeniably feels like it has emerged from the passions of its creators, particularly director Scott Cooper and producer Guillermo del Toro.

This slick and cheesy Netflix movie only occasionally rises to the potential of its wild premise, thanks mostly to a crazy-eyed, licking-his-chops performance from Jason O’Mara. He knows exactly what kind of material he’s working with here. For the most part, though, “Hypnotic” is dopey, but never quite dopey enough.

Hall, Grau, editor Sabine Hoffman, and composer Devonté Hynes do an excellent job of casting a hypnotic spell on the audience. This is a deliberately paced film with enveloping moods that feel like symphony movements.

Crow’s camera captures the nuance of what these teens face and how law enforcement instructors and recruiters sell children on the idea of following in their footsteps.

We meander from one story to the next until every idea, big and small, gets cast aside with childish zeal.

The movie may be hard to explain, but it's very fun to watch. It's a fast-paced delirious movie about a very slow unchanging world.

The Harder They Fall is a bloody pleasure: a revenge Western packed with memorable characters played by memorable actors, each scene and moment staged for voluptuous beauty and kinetic power.

While it on the whole doesn’t feel as engrossing as some of the filmmaker’s former, more innovative movies (the terrific What Happened, Miss Simone? comes to mind), Becoming Cousteau is still as immersive and warmly inviting as non-fiction biographies come.