Ambitious in scope, carefully crafted and featuring several fine performances ... But despite the worthy seriousness of its intentions and the parallels with the present it cleverly draws at every turn, the final impression is of dramatic opportunities left unexplored. While War’s dutiful sense of responsibility to its source material is laudable, it feels limiting.

Adding it up, the film has the same charming characters and delightfully detailed pastel artwork of its predecessor, but in exchanging Your Name’s sci-fi component for a mythical-magical story, it loses a bit of quota.

A lethal little ensemble feature that packs quite a few thrills into a compact format.

The images, and the actions within them, lack the acerbic edge that would really drive the knife in.

It's a story cut from familiar cloth that's absorbing enough but never quite escapes its whiff of cliché.

But while the film is effective on its own narrow terms, it lacks the spark of urgency, suppleness of tone and freshness of insight that would make it truly compelling.

Driven by nuanced, persuasive performances and shot with an urgent, jittery tension, White Lie is a compelling close-up character study of a recklessly needy anti-heroine caught in an impossible dilemma of her own making.

Any failure to expand into cinema's possibilities is overshadowed by the uniformly strong performances in a four-person cast led by an excellent Kerry Washington.

A gorgeous tone poem that both deepens and personalizes the audio recording, creating a satisfying emotional arc that isn’t as apparent in the collection of 13 fully-orchestrated country-tinged songs.

[A] striking and auspicious feature debut ... Saint Maud seeds the clouds with an eclectic mix of influences, but it works, creating a film with its own strange weather.

The corny, eventually rather contrived result doesn't end up doing justice to either its cast's talents or the quality of Winton's acclaimed prose.

Overlaying the drama with the false cheer of lively music and bouts of humor, the story feels out of touch with the very emotions it desperately tries to evoke. Neither tearjerker nor very affecting drama, it defaults to somewhere in the middle.

Eminently entertaining ... Sure, it shamelessly panders to our collective sense of duty to support the troops — and, of course, also support the families that support the troops — and maybe it's more than a little manipulative and formulaic. But gosh darn it, it's hard not to warm to a film that features an a cappella version of Yazoo's "Only You," a near-derelict car that may or may not be called Shite Rider and Kristin Scott Thomas having a verbal catfight in a parking lot.

As quiet and thoughtfully composed as a Dutch master's painting, Ordinary Love uses clean lines and well observed tiny details to build up a deeply moving, nuanced portrait of a marriage under strain after a cancer diagnosis.

The documentary plays like a home movie that snowballed, causing its maker to overestimate her subject's relevance to the outside world. Though parts of it will certainly resonate within the deaf community (assuming it is made available with closed captioning), the film has little of the philosophical appeal of other documentaries on this topic, and sometimes seems willfully solipsistic.

The critique of those in power and their need to put down others — preferably foreign or different-looking people — in order to stay on top is as relevant in 2019 as it was in 1980, when the novel was first published. But like its noncommittal production design, which combines various North African, Middle Eastern and Asian influences for the locals and locales, the critique itself remains finally quite dull and dispersed because it's so broad and unspecific.

This moody, black-and-white period piece always intrigues, even if it only intermittently catches fire.

A film about the sudden onset of deafness that is too attentive to specifics of character and setting to ever feel like a rote disability drama.

Govenar is not what you'd call a natural filmmaker. Hodgepodgey in its storytelling, the film introduces enough appealing characters to hold the interest of a casual viewer; presumably, tattoo-diehards know much of this stuff already.

The film captures the cost of Henry's well-intentioned sin, following this pained new creature out into the world and, very briefly, giving his suffering an almost Malick-like voice.

The high-wire tonal balancing act proves a little wobbly at times, resulting in a film that is feels less than the sum of its parts. But some of those parts work very well, providing moments of uncomfortable hilarity and genuine poignancy.

Its largely Hispanic cast and extensive Puerto Rico locations lend a unique quality to Paul Kampf's prison drama starring Laurence Fishburne as a morally corrupt warden. Unfortunately, those elements are the only original aspects of this turgid exercise in prison movie clichés which doesn't even manage to be convincing as melodrama. Although certainly well-meaning in its condemnation of capital punishment, Imprisoned is too dully executed to achieve its desired impact.

A satisfying shot at bringing a classic of the sci-fi/horror genre to modern audiences. ... Hitting the main plot points with well-designed SFX and some impressive night photography, Stanley's film manages to be frightening indeed, even with star Nicolas Cage’s semi-farcical leavening adding some nutty laughs.

Lucy in the Sky is the odd film that starts cosmically big and gradually becomes narrower and more conventional as it goes along, to diminishing returns.

A moving and powerful portrait of trauma and recovery, Cracked Up will likely prove as therapeutic for many viewers as it clearly is for Hammond himself.

Although stylishly made and featuring a compelling lead performance by Trevor Long (Netflix's Ozark), Seeds never takes root.

This superbly crafted yet intimate family drama is so realistic in terms of its setting and technical specificity, it sometimes feels like a documentary. ... It’s perhaps a tad deliberate in spots, hitting its central theme too heavily on the nose, but Proxima pulls off an impressive balancing act between the personal and the astronomical.

It's a wobbly but amusing pic that only really raises eyebrows at the end.