While it lacks the ambition to turn its obvious plot into a film that feels new, it also avoids the pitfalls of moral smugness and stereotyping. It flows along easily, bolstered by Taraji P. Henson’s and Sam Rockwell’s vibrant performances.

Starring a miscast Hilary Duff in the title role, The Haunting of Sharon Tate deserves the instant obscurity for which it is certainly destined.

One wishes the script might have shared the degree of precision that has obviously been applied to the technical side of the production, which is resplendent in visual dazzle from the smallest beads of sweat on a character’s forehead to the vintage knit fabrics to those sprawling exotic vistas.

Enigmatic but oddly entrancing feature debut.

Viewers may worry that Bazawule's starkly gorgeous pictures aren't going to add up to anything, but Burial satisfies in prosaic as well as poetic terms, supplying an end that makes sense of its beginning. It will leave many who see it eager for the young filmmaker's next fable.

Unfortunately, Reinventing Rosalee, the new film about her directed by her daughter Lillian Glass, feels less like a documentary than the most elaborate Mother's Day present ever.

Unfortunately, while Long Lost has its moments, it ultimately fails to capitalize on its intriguing premise.

Captivating and deeply felt coming-of-age fable.

There have been films that treated Nazi doctors conducting evil experiments in concentration camps more sympathetically.

As with any vérité portrait, there are many things that go unexplained. But the images tell us what we need to know: The unforced choreography between Hatidze and the bees.

To say that thespians live for opportunities such as this is an understatement, and Schull, whose restrained underplaying only makes the material more powerful, makes the most of it.

The latest example of the unfortunately fertile trend is a comedy from Josh Huber that features every stereotypical plot element and predictable gag imaginable. Making Babies demonstrates the need for creative contraception.

Whatever its shortcomings, American Relapse deepens our sense of the catastrophe caused by opioid overprescription and over-availability.

Promising but inert genre pic.

A charmer with strong appeal for video release, it is lively enough to merit a niche theatrical run beforehand.

Not exactly the celebration of female promiscuity its title suggests.

When that visual leaves a more captivating impression than a baby elephant spreading its ears and getting airborne like a glider, something is definitely off in the balance. The new Dumbo holds the attention but too seldom tugs at the heartstrings.

A very entertaining film, stuffed with colorful idiots and serves-you-right twists. Silly in ways that reflect poorly of the filmmaker's taste but will endear it to many viewers, it's a true-crime tale that has much to do with Major League Baseball but requires no interest in the sport to enjoy.

The picture is a slow-burning but ultimately empowering drama that works despite a lack of the bigger, louder, more outwardly emotional moments it could have succumbed to.

A Vigilante offers some grim, imaginary satisfactions in support of real survivors who need whatever help we can give.

Proves so determinedly ebullient you begin to think they're pumping laughing gas into the auditorium. The most kid-friendly DC movie so far, the film is thoroughly entertaining.

None of it adds up to much beyond painting the band, despite their often repellently bad behavior, in a flattering light.

It's an intelligent, well-done pic whose restraint can be commended. But it also operates at such a slow burn that it comes close to fizzling out completely.

There's plenty of material here for a reasonably engrossing drama. Somehow, screenwriters Craig R. Welch and Greg Gerani fail to come up with anything remotely interesting.

A good old-fashioned British spy thriller.

Writer David Hare and director Ralph Fiennes have a good feel for the artistic world the story inhabits and professional dancer Oleg Ivenko does a more than creditable job in personifying one of the 20th century’s most celebrated artistic figures, but the narrative bounces all over the place trying to cover too much ground when concentrating on the core drama would have far better served the desired end.

If the title MS Slavic 7 fails to ring a bell, its abstractness conveys the industrious intellectual labor demanded by this witty one-hour Canadian film.

The Man Who Feels No Pain is a fun ride, unashamedly zany and eager to please, even if the humor is very broad and the sprawling plot too baggy for an action-driven piece.