A fascinating and unsettling look at the ramifications of marital infidelity when shone through that specific geopolitical prism.

The dreaded question with a film like this is, “Wouldn’t a documentary have been better?” In this case, there’s a double answer. The first half of The Glorias is better told as a drama, because it’s fascinating to see (and not just be told) the obstacles in front of Steinem and how she overcame them. But the second half would have been better as a documentary.

Watched today, in light of special counsel Robert Mueller’s investigation of the Trump administration, it has an extra intensity, as a possible preview of coming attractions.

A smart, sexy romantic drama, directed within an inch of its life by Hans Canosa.

I've seen many films about Italy, but this one - possibly because it's so colorful and stylized and possibly because the songs are such economical distillations of a state of mind - feels like being there.

Bayona remains a director whose work should be anticipated, and A Monster Calls is a solid fantasy drama.

With Stewart, we arrive at the only saving grace of Seberg, but a genuine saving grace. She is the only reason to see the movie, but she’s a really good reason.

Nonstop crudeness, vulgarity and unpleasantness. It's without any redeeming social value whatsoever. And it's funny from beginning to end.

Well made, provocative and compelling.

Too slick but amusing marital farce.

In watching The American Nurse, I saw myself not so much in the nurses but in their patients. It occurs to me the nurses are always there, from our birth to death and in between. That in the current pandemic they would need to beg for personal protective equipment is on us as a society. They are our better angels.

The action is not just big — big is easy. It’s creative. It’s choreographed. It’s unexpected and delightful. It’s lots of fun and a stark contrast to the previous film, “Furious 7,” which was huge but flat, just commotion without inspiration.

If anything, this modest but entirely charming movie may deserve a tiny slice of immortality by showing the kind of goofy, escapist fun that can be created even in a grim time.

Isn't an instant classic, but it bumps along agreeably.

Think of Enigma as a cerebral thriller about the horror of war and the hope that people had in spite of it.

Ultimately is less a horror film than a valentine, from a daughter to a father, and a sweet portrait of a man going gently into that good night.

For the most part, however, Proxima enthralls with its deep dive into the mechanics of astronaut training. Green presents a woman with the right stuff for it, but maybe she can’t give up the parts of herself the job demands. It’s a stress test the actress passes with flying colors.

What's exciting is that the Sprechers have delved into territory that is normally the domain of literature and have emerged with a film that's neither overly literary nor simplistic.

Instead of concealing it, I'll just come out and say that I find it difficult to be enthusiastic about this well-acted and gracefully directed movie, but for reasons that might be called philosophical.

A loose, lighthearted romp that's a notch above the usual buddy comedies.

The best teenage werewolf movie ever made.

Not a masterpiece that will change your life, but you’ve probably had your life changed enough lately. It’s 90 minutes of thoughtful, atmospheric, well-made entertainment, and that’s more than good enough.

Doesn't poke fun at anyone's beliefs.

Funny, affectionate documentary.

A peppy, bouncy documentary that is watchable and informative, although Tickell's celebrity name-dropping at times detracts from the serious message.

Aimed directly at your inner 8-year-old, and it strikes home.

A joyous first feature by director Kwyn Bader, is a charmer.

It's an impressive achievement: The film reveals things about each person's inner world, and how it looks to the other, without making us feel as if we're lost in a house of mirrors.

It's so joyful and confident in its own premise that it practically dares you not to walk out of the theater with a smile on your face, strutting like a peacock.

Provocative, audacious.

A millennial medley to the max.

It's a passionate, beautifully mounted film -- but the agenda she sets for herself is too large and the conflicts she portrays too complicated to be illustrated in a single drama.

In the end, Sully is a broadly crowd-pleasing movie, at a time when we could use the straight-forward entertainment.

Stronger always feels right in the moment, solidified by an outstanding central performance by Gyllenhaal, and some wonderful ensemble work, especially the actors just below the top billing.

It's tear-jerker material but ends up being quite touching, and it's a good choice for family viewing.

The atmosphere of Loving, the feeling it evokes, is the film’s most distinct quality. The mood is somber and restrained, and the characters — not just the principals, but the people they know — seem beaten down.

If Eddie Murphy gets an Oscar for "Dreamgirls" later this month, the deciding factor with voters may be his performance in Norbit. It's much more impressive than anything he does in "Dreamgirls."

The curdled Norwegian comedy-drama Happy, Happy, which dissects a pair of poisoned marriages, is sometimes heavy-handed (like its title) but has much to recommend it.

With more than a hint of the magazine’s trademark insouciance, the film gives us a close look at how the selection process works and introduces us a to a handful of younger artists, as well as such stalwarts as George Booth and Roz Chast.

In one sense it's aged surprisingly little -- the language and physical gestures of camp are largely the same -- but in the attitudes of its characters, and their self-lacerating vision of themselves, it belongs to another time. And that's a good thing.

A particularly strong element is the story of Carlotta’s father, played with arresting intensity by Laszlo Szabo.

Hail Satan? is too lacking in conflict (apart from the eternal one) to be a true study of a movement. But it’s a highly entertaining survey.

There’s crafty playfulness to Wohl’s approach, though; dialog can be as killer as Jo’s darkest impulses, and some scenes are drop-dead funny even if they’re about wanting to drop-kick Baby out of your life.

An unlovable movie. It's morally ambiguous, which means there's no real rooting interest. It's episodic, with the same kinds of episodes repeated over and over, so there's little sense of forward motion. It feels philosophically and politically confused, so there's no message to take from it.

Questions of politics and policy, even urgent ones, seem pretty dry after watching Henry and the other elderly patients come to life. Those scenes are a revelation.

The film's simplicity and intensity are aided by the crisp black-and-white photography of Tariel Meliava. Director Babluani's greenness shows itself in the ending, which is weak, but the film nevertheless stays with you.

A substantial examination of character, morality and destiny.

The brilliant comic observation behind Strays is that dogs never quite get the complete picture. They misunderstand much of what they see — they believe rival dogs are in the mirror and that the mailman is the devil — and thus by staying entirely inside the dogs’ point of view, the movie taps a major source of humor.

Captain America: Brave New World doesn’t have such lofty ambitions — its makers probably just thought it was a cool title — but it is surprisingly engaging, primarily because of the people in ‘t.

A visually spectacular film, distinguished by strong performances and brilliant Steadicam photography that snakes through the U-boat as its patrols the North Atlantic during World War II. [Director's Cut]

There are dull stretches — interrupted by moments of terror — but that’s not really a complaint for a movie such as this. “All Quiet on the Western” is only partly a narrative. It’s also an immersive experience, an invitation to walk in someone else’s shoes, albeit from the safe side of a screen.

A very human story.

The film is exquisitely acted, with Englert making Mara’s emotional pain real. It’s reminiscent of Jennifer Lawrence’s breakout role in “Winter’s Bone,” which was set in a similar geographic area. Throw in equally strong performances from Goggins, Colman and especially Mann, and the lean, stark Them That Follow ends up packing quite a punch.

There are flaws, but also some fun surprises. Much closer to Hitchcock than "Hostel," this is what can happen when a pile of trash falls into the hands of a talented and resourceful director (James DeMonaco).

A compelling, tightly made political thriller.

The quiet intensity of “Blue Moon” is at times agonizing. Any more would have been too much.

The movie is entertaining, although true Trekkies will probably find out nothing new about the man with the pointed ears.

It’s a delicious, yet far-fetched setup that pushes the limits of believability, even when we consider how powerful denial can be. But director Christian Petzold never loses control of his taut film.

The no-sweat clunkiness of the detective plot becomes kind of charming.

Fortunately, What If rights itself well before the finish and finds its way back to the truth and the light.

A film for anyone who enjoys an intelligent thriller, but for illness phobes this movie is a special pleasure in that it presses all the right fear buttons even as it validates a very particular vision of reality.

A throwback to all those guilty pleasure action movies.

While The Edge of Seventeen does deliver on the promise of being funny, it’s mostly dead serious and deserving of respect and attention. It’s far from the usual thing — and better than the usual thing.

Guaranteed to inspire, antagonize and divide his (Lee's) audience.

McGann, whose 2016 documentary “Revolutions” explored the women’s roller derby scene in Ireland, spins a compelling yarn about two fascinating people, although she doesn’t go much below the surface.

Maria, despite being occasionally slow, is a weird, good movie.

Aside from its scintillating title character, Bobi Wine: The People’s President is valuable because it stands as a clarion call against authoritarianism.

In honor of NOFX’s final performances, the punk band produced and candidly participated in the documentary “40 Years of F—in’ Up.” The result is even wilder than expected and more heartfelt than it has any right to be. Even still, it will likely be more appreciated by fans of the veteran California punks than by anyone new to their music.

A story so good that maybe anybody could have turned out something decent.

Even if the film seems slow at times, there’s always something to look at, including Miroshnichenko and Perelygina, who are able to find grace and dignity in two such odd, hollowed out characters. Maybe, just maybe, these two veterans working in a hospital can heal each other.

A delightful coming-of-age movie that teeters on contrivance but never topples.

Delightful blend of comedy, kung fu, soccer and special effects.

A two-hour nervous breakdown.

At times hilarious and occasionally very sad, it's a cautionary tale about the lure of instant fame.

Wong denies us the satisfaction of resolution, but in sharing his mastery of cinema, and his gift for conveying mood, desire and vivid emotions, he's more than generous.

Has that Dickensian spirit wherein simple acts of kindness can bring an audience close to tears.

A play-it-safe film, with its chaos a little too controlled. But Bell’s examination of the institution of marriage has it insights, and there are laughs.

A better- than-average children's film, dolled up with some high-priced art direction and extraordinary special effects.

Before I Go to Sleep emerges as a mystery — one with a slow burn leading to a big payoff. But what keeps the movie going, beyond questions of what is true and what is false, are the issues raised by the illness itself.

A small, independent comedy-drama that does a number of things very well. It does them all quietly. The scenes don’t swing for the fences. The emotional work is true, not pushed, and by the end, the movie ends up giving the sense of a world.

The Val Kilmer we meet has been in the arena, realizes he has been lucky despite the hard knocks, and has now achieved what we hope is a lasting peace. His physical voice might be gone, but his inner voice still has much to say.

A sharp, engaging look at what it's like to be hungry and not-so-young in New York.

The success of Chloe is largely due to the contribution of screenwriter Erin Cressida Wilson.

Expansive, but succinct. Leigh tells a small story and doesn't try to make something huge of it.

The end result is something like the best blues festival anyone could have thrown last year, although Lightning in a Bottle falls a fair piece short of its own lofty goal.

Angourie Rice, who plays Gosling’s intelligent and highly moral 12-year-old, deserves a special mention. The character is an unexpected presence that adds dimension to the story, and Rice plays her beautifully.

Howard and Pratt don’t get to do much besides run like hell, but a movie like this in a way emphasizes rather than obscures the importance of star quality. They’re just so good-looking that it’s a pleasure to watch them -- idealized surrogates for humanity.

Even to those familiar with the bizarre affair, “JT Leroy” offers some new insights, not only because of the presence of Albert and her home movies, but also because of a treasure trove of phone recordings between JT and numerous luminaries.

It’s a quiet film that almost slips by without notice.

This affecting documentary focuses on their 2004 production, a play whose themes of forgiveness and redemption certainly ought to have some resonance for the inmates.

A charming, finely nuanced romance.

Placing style above coherence, Seven glosses over plot points and shows a weakness for cheap, lurid effects.

The Last Kiss ponders what you give up -- and what you gain -- from sticking with what you've got.

This is contemplative moviemaking, with its deliberate pace, often static scenes and emphasis on direct sound. The director keeps the dialogue pared to the bone.

This easygoing movie fully captures the couple's charm and offers a unique look at the '60s and '70s New York art scene.

It's downbeat material and it tends to drag a bit, but Jia's performance is so unsparing and intense -- and the film so compassionate and chaste in its approach to a life lost and recovered -- that Quitting ultimately satisfies.

Clemency is slow and without much suspense. The real question isn’t whether this person or that person will be executed, but whether Bernardine will go to pieces, and yet with a performance like Woodard’s at the center, that’s all a movie needs.

Kemper is good throughout. Her radiant likability gives her the power to sell weak material, which means she will often be offered weak material. But there’s enough in Happiness for Beginners to make me glad that she did it.