Amid scattershot pop culture references, flying cars and squads of armored knights with laser-guided crossbows, Nimona makes a cry for acceptance that has mythic resonance.

Unlike the previous two installments, Lady Vengeance generates on odd feeling: hope.

The love people have for this city just comes tumbling out of every part of this movie.

Adams does offer quite a turn: Portraying a version of Disney's Snow White, she owns the character, down to every warble and twirl.

A small gem.

The result is a film that's honest and tepid, intelligent and dull, worthy and forgettable.

Hyper-violent yet emotionally powerful.

A sequel was called for, and so a sequel has arrived -- but it's a slightly zombie-like version, with the size, look and shape of the original movie, but without its lightness or spirit, its soul.

Typically, films about '60s subculture recycle the same set of media cliches and teach us nothing. Harron approaches the milieu with curiosity, compassion and an anthropologist's eye.

A captivating mix of formality, ambiguity and offbeat humor. On the surface a simple fable, it's actually much more.

Pure escapist hokum, with action choreography by Sammo Hung, but I sure miss that old-school wire work.

Now after 43 years in feature films, Danner has gotten the opportunity to show what she can do, and in I’ll See You in My Dreams, she is simply jaw-dropping, just wonderful.

Based on “Umimachi Diary,” a best-selling graphic novel by Akimi Yoshida, Our Little Sister might be Kore-eda’s best film yet. It is certainly one of the best films of 2016.

Happiness might remain elusive in Nico’s last years, but after years of loneliness and fading fame, at least she can catch a glimpse from time to time.

Using footage mostly from the cameras of various passengers and crew, the documentary takes us inside the experience of being stuck inside a floating prison, unwanted by any port, as COVID cases and fears mount. It’s an experience you would not want to have directly, but it’s fascinating to watch.

Nobody is better than McCarthy at over-the-top comic hostility.

Here's a tiresome feature that could be made into a wonderful 20-minute film -- or, with a few adjustments, into two or three 10-minute shorts.

Those who love Nader will appreciate the respect and attention given his career. Yet others, even those for whom the mere sight of Nader's face is enough to cause a spike in blood pressure, will appreciate the film's evenhanded elucidation of Nader's faults.

The director's most painfully slow movie yet.

Night Moves, which shows her at her best and worst, also shows two roads, right and wrong, that Reichardt can choose to pursue. As someone who likes this filmmaker even when I don't like her movies, I hope she takes the harder road.

No film could convey all the complexities of the case - what Crude does is air the plaintiffs' claims and show the lawyers at work.

No, this is not good. This is just not good.

At its simplest, we have here a performance showcase for O’Brien’s artfully restrained sniveling and, especially, for McAdams’ miraculous shape-shifting abilities. Essentially “Send Help” is “Cast Away” if Wilson the volleyball were a misogynist tool.

Everyone has a story from childhood that remains vivid in memory, and that feels important enough to immortalize in art. But few people have the ability to get their story out from their minds and onto the page, the stage or the screen. Yet when that does happen, and when it’s done right, you can get something original and heartfelt, such as Kenneth Branagh’s autobiographical Belfast, one of the glories of this year’s cinema.

A kind of film opera without music.

The multiply authored screenplay is based very loosely on Cressida Cowell's popular children's books, but it owes just as much to "E.T.: The Extra-Terrestrial" and the John Lennon songbook.

Beatty has fashioned a hilarious morality tale that delivers a surprisingly potent, angry message beneath the laughs.

This is a tense film that builds in impact as it goes along, and ultimately, it’s riveting.