Kail’s camera captures actors’ intimate faces during key moments in a way impossible for theater-goers and incorporates audience reaction to create an electric filmed version.

It’s often hard to see comedies for what they are, or what they might be, on first viewing. But “Eurovision” is that rare film that strikes the right chord from the start. And, weirdly, it might even spark some interest in the actual show.

Irresistible has its smart laughs and real pleasures.

The documentary, directed by Bonni Cohen and Jon Shenk, is vigilant in widening is lens to capture the broader problems at USA Gymnastics.

Objectivity is not Meeropol’s goal here but better understanding of who this slippery character is, and this film succeeds in that.

Babyteeth is an assured and stimulating feature debut from director Shannon Murphy, who is working with a script by Rita Kalnejais. It is raw, funny and often uncomfortable.

The tension escalates quite effectively, but the payoff feels weak, because the thing — or person, or whatever — that we’re supposed to be most scared of is hardly as scary as the buildup.

For those who have spent the last few months hungering for a big-spectacle mess (they are, after all, a feature of summer moviegoering), now you can take in a big-budget flop from the comfort of your own home.

Absorbing, brash, exhausting, urgent, sometimes brilliant and sometimes unapologetically messy

For Miranda disciples, it’s essential. For everyone else? It is a good-natured peek at the origins of this freestyle hip-hop group, which ended up being a springboard for some pretty incredible talents

There are few more daring actors around right now than Moss, and “Shirley” may be her best performance yet. She’s brutally cutting but the pain of every slight ripples across her face.

It’s not a compelling environmental film or a good drama about racers. Like many of the electric cars on the track that season, it stalls.

It’s both a compliment and a criticism to say that “On the Record” left me wanting much more.

The Vast of Night is, in a slinky way, about escaping small-town small-mindedness.

Yes, you’ll likely guffaw at one key moment, but it probably won’t spoil the fun. And when you catch yourself saying, “That wouldn’t happen!“— well, let’s remind ourselves that this is precisely the time for a little escapism.

Watching The Trip to Greece at a time when such travel is impossible has only heightened the considerable pleasures of these movies (and made the food all the more appetizing). But mostly it’s reinforced the simple delight of sitting table-side with Coogan and Brydon. For all their trivial sparring, they are exceedingly good company.

Through twists and turns, The Painter and the Thief depicts not just the two-way transactional relationship between artist and subject, but the shared pain and mutual rehabilitation that can inspire and surround art making.

Rae and Nanjiani make the ride fun enough with their easy chemistry and silly, wide-eyed panic at everything they’re witnessing. Still, The Lovebirds lacks the singularity of its stars’ other noteworthy roles.

"Scooby Doo” was never the most unpredictable of shows but Scoob! has merely swapped the original’s blueprint for that of a superhero movie. You’ll be left mournfully munching a bag of Scooby Snacks while wondering, “Scooby-Dooby-Doo, where are you?”

Al Capone’s last year could make for an interesting film, but there is little poetry or transcendence in Capone, and nothing even remotely close to the quietly devastating third act of “The Irishman.”

More concrete examples of how mushrooms or dropping acid aided life are sorely needed.

Spaceship Earth, with a glowing score by Owen Pallett, doesn’t cast judgment on most of its subjects. It’s content to go along for the ride, marveling at all the surrealism. You’d say the story was out of this world if it wasn’t so much of it.

Based on Caitlin Moran’s semibiographical novel, How to Build A Girl is a wickedly funny, sweet and vibrantly told coming-of-age story that feels like a teen classic in the making.

Hallgren weaves together a compelling narrative with these public and private interviews that builds chronologically to the present.

What distinguishes this debut feature from Andrew Onwubolu, aka Rapman, is firstly its storytelling structure, making welcome use of the writer-director’s rap talents to serve as a Greek chorus. And secondly its cast, with several vital performances of note, especially from heartbreakingly vulnerable newcomer Stephen Odubola.

It’s Tassone’s perspective that Finley largely keeps to, which — if you don’t know the true story — lets Bad Education unspool if not surprisingly at least captivatingly.

The editing is more than a little rough and the plot gets a little stretched, but just as things start to get seriously hairy, the Pierce brothers suddenly have something really interesting to say about erasure and how families can abandon their histories.

A Secret Love is guaranteed to pull at your heartstrings. It might be the quarantine or it might just be effective storytelling, but a scene near the end of the family coming together — not even a sad scene — left this reviewer in tears and I’m willing to bet I won’t be the only one.