Part One, at least, is a French "Bonnie and Clyde."

In Chadwick Boseman, it has a galvanic core, a performance that transcends impersonation and reverberates long after the screen goes dark.

While there’s much to admire here . . . the drama too often lacks the subtlety that distinguishes the British writer-director’s work at its best. Two hours long, practically to the second, this feels like a project that’s been excessively trimmed, snipped and tapered to fit an arbitrary running time.

A rare, hilarious and ultimately touching look at the kind of American iconoclast that barely exists anymore.

Key to the strength of Big Sonia is its refusal to give in to easy bromides. Its use of animation to illustrate Sonia’s memories spins off her own artful drawings in a way that amps the sense of unspeakable horror rather than sugarcoating it.

The mix of commentators is unusual and lively, hardly the usual crowd that often pops up in documentaries like this, the clips are illustrative and on point in addition to often being eye-popping, and the film looks certain to please Keaton aficionados. Most importantly, it's likely to induce newcomers to investigate the great stone face for themselves.

This playfully made exposé should be required viewing for anyone wondering what they could do to pitch in and save the planet.

As painstakingly crafted as this mystery-thriller is, it remains something to be admired from a distance rather than felt viscerally.

This Bannon is a snooze, occasionally making a wry aside but nearly never saying anything unusually smart or new. ... It's hard to see what ordinary viewers at any point on the political spectrum will gain from this particular status report.

The docu is not visually innovative, but the content more than makes up for what it lacks in style.

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.

Although it reunites the comic talents of director Ivan Reitman, writer Harold Ramis and star Bill Murray, the team responsible for the Meatballs phenomenon, their style here is far more laid-back and relaxed. There are still plenty of laughs, but not of the frantic sledgehammer variety.

Our Brand Is Crisis well demonstrates the international efficacy of the methods used to twice elect Bill Clinton. Unlike in "The War Room," the charismatic Carville makes but fleeting appearances in this docu, and it suffers as a result.

It is a provocative and potentially rich premise, to be sure, but the execution here is somewhat lacking.

Visually stunning if dramatically logy and willfully enigmatic.

If it were possible to send a camera crew back into the past to capture such an event, the result would be something close to what Minervini delivers in this quietly intoxicating and existentially real war movie.

An absolute delight from start to finish.

With Banel & Adama, Ramata-Toulaye Sy has conjured a stunning world in need of a sharper story.

Swinton and Moore imbue the movie with heart that at first seems elusive, along with the dignity, humanity and empathy that are as much Almodóvar’s subjects here as mortality.

It feels like every script-reader in the Italian-Swiss-German-Albanian-Kosovo coproduction cut out a line of dialogue in each scene, leaving behind an irritating silence and an enigmatic puzzle for the audience to second-guess.

On paper, neither character may seem terribly appealing, but on the screen they steal your heart away, but completely...Not only did that last reel include some of the most wildly exciting fight footage ever put on the screen, but it also provided an emotionally gratifying capstone to a picture that is truly an ode to the human spirit.

What makes "Ecstasy" essential viewing for any pop-music fan and any student of celebrity pathology is the interview itself. Spector, despite his immodest comparisons of himself to Bach, da Vinci and Galileo, is surprisingly entertaining company, not simply the mad recluse with crazy hair that was his shocking image during the trials.

Like so many Bildungsroman, it’s a tapestry crammed with incidental details, just as busy as the fantastic vintage-style prints on the women’s dresses and the flammable upholstery in the interiors. But then Crialese, who’s always been good with performers, will serve up a moment of achingly sad stillness.

A first-rate music film capturing a restless desire to communicate beyond the boundaries of any single idiom.

Fort Tilden, the debut feature co-written and directed by Sarah-Violet Bliss and Charles Rogers, showcases a satirical voice so dyspeptic it’s almost endearing, never letting the abrasive lead characters – or anyone else for that matter – off the hook for their self-absorbed entitlement.

Very entertainingly takes us into the world of stuntwomen.

Indie coming-of-age dramas are not exactly an endangered species, but Michael Kang's debut drama is an admirably intelligent and modest example of the genre.

The film ambles along at a relaxed pace, well depicting the uneasy relationships among the soldiers and the mixture of boredom and danger that marks their daily existence.