Predator: Killer of Killers provides the non-stop action that the diehard fans crave.

Urchin would be nothing without a gifted, vanity-free actor (the lead is the son of Stephen Dillane) who has clearly dug deep into the milieu of addiction and homelessness and is willing to go anywhere the script takes his character — from rapturous highs to desperate lows and all their consequent indignities.

Made with the same laser-cut precision as his previous work, but with a greater emphasis on procedure than before, Moll’s new thriller puts the viewer in an uneasy place — between law and order, good cop and bad cop, protester and rioter — raising questions for which there are no easy answers.

Once again navigating a labyrinth of corruption and bad behavior inside contemporary Egypt, writer-director Tarik Saleh delivers another solid, thought-provoking thriller with Eagles of the Republic.

Yes may be purposely over-the-top and unsettling to watch — at two and a half hours, it won’t win over audiences looking for light arthouse fare — but Lapid is trying to show us that it’s hardly an exaggeration of the truth, or at least his own truth about his homeland.

Davies Jr. deftly connects the broken promises of the nation state with the fragility of the family at the center of his story. It’s in these final scenes of this impressive debut that he displays his full promise as a filmmaker.

Flamingo goes overboard on the surrealism at times, but by ultimately focusing on how Lidia comes to terms with the reality of the AIDS epidemic, it delivers a solid emotional blow by the end.

Peck, who profiled another writer of blistering moral clarity and prescience, James Baldwin, in I Am Not Your Negro, brings a healthy dose of sympathetic rage to his exploration of Orwell’s worldview, and sensitivity to his life story.

Also featuring an unfortunately underutilized (but always welcome) Nancy Travis, Sovereign benefits greatly from its empathetic, non-exploitative approach to its controversial subject matter. It’s uncomfortable but necessary viewing.

Although its very R-rated humor inevitably starts to wear thin during the course of its feature-length run time, Fixed manages the neat trick of injecting some genuine heart into its nonstop offensiveness.

On one hand, She Rides Shotgun is a New Mexico-set crime drama that makes Breaking Bad look like family entertainment. On the other hand, it’s an ultimately touching portrait of the growing bond between a criminal father and the young daughter he’s barely gotten a chance to know.

Featuring enough slightly rambunctious humor to amuse younger viewers while providing a relatable, moving portrait of adolescent angst, sibling bonding and marital tension, In Your Dreams showcases consistently imaginative computer animated visuals (with one segment reverting to hand-drawn) and the sort of original storyline that’s increasingly rare in animated films.

Shot in grainy 16mm to better capture the mood of the epoch, Broken Voices keeps its drama grounded in the social and cultural realities of its time. Provaznik coaxes strong performances from the young cast, whether in their chorus rehearsals or behind the scenes.

No Sleep Till does a particularly fine job of portraying an eerie kind of climate adaptation, one in which people acquiesce to their fate in the face of the elements. That’s especially true of the families for whom the idea of evacuating doesn’t seem to cross their mind.

The SpongeBob Movie: Search for SquarePants easily delivers another rib-tickling, delightfully frantic fourth installment of the series.

Other attributes carried over from Liu’s nonfiction work are his restraint and avoidance of sentimentality in a slow-burn, heavily observational drama whose unhurried pacing requires patience. But there’s a haunting quality to the melancholy story that stays with you, and despite what often seems like a bleak outlook, it finds resonant notes of hope.

Duplass and Strassner’s script traces the one-step-forward, two-steps-back progress of the main characters’ connection over the course of the night with delicacy, never stretching the boundaries of credibility.

The movie remains the work of a master craftsman with his own idiosyncratic storytelling signature, though the pathos and suspense of a hardworking family man driven by desperation to murder get short-changed in favor of wacky humor.

Moments of humor and rare quiet are essential to relieve the manic chaos that more often reigns in this unflinching but compassionate slice of social realism.

The premise is so cute it’s surprising a movie hasn’t done it already. Eternity mines its compelling conceit for both peppery comedy and bleary sentiment.

It’s an unassuming comic drama that sneaks up on you, its emotional honesty fueled by gorgeous performances of unimpeachable naturalness from Will Arnett and Laura Dern.

[Fraser's] superbly nuanced and expressive performance proves key to the film’s power, and he’s well matched by excellent supporting players.

The film aims to inspire action and stave off despair with a reminder that the most powerful tool younger generations can wield is their imagination.

This is a story of national identity and resistance with contemporary resonance, but it’s also a classic genre movie, its historical tapestry populated by a strong ensemble of screen stars as well as impressive newcomers.

A ghostly story that’s not exactly a ghost story, Rose of Nevada is a typically imaginative film from the director Mark Jenkin.

At once a satire of artistic pretensions and a tantalizing character study, Late Fame isn’t focused on big cathartic moments, and its third-act cataclysms are almost anticlimactic. But there’s a satisfying depth to it, and the movie abounds in exquisite grace notes

Camus’ formidable antihero may be lost to his own demons, as well as to the demons of colonialism, but Ozon boldly suggests that the memory of his Algerian victim may live on as a harbinger of what’s to come — that is, of a time when rebels like Meursault no longer exist, in a country finally free of them.

Dead Man’s Wire is a timely, entertaining reflection on the way the offer of the American Dream often tends to be snatched back.