Diverting and for the most part agreeably amusing, Late Night is about as mainstream and conventional a movie as could be made right now about the timely issues of women and minorities finding equal footing in the workplace.

All the dramatic components have not only been well thought out by Talbot and co-writer Rob Richert, but they’re adorned, for the most part, by a sense of reality that keeps pretentiousness at bay. To be sure, this is a highly calculated and worked-out story, but the humor and lively playing of the entire cast keeps the film aloft across its two hours.

Any way you slice it, and even if you're not entirely in agreement with the various subjects' positions on Medicare for all or the Green New Deal, this film is a winner by a landslide.

Honey Boy is not a self-justifying cri de coeur or a prankish exercise in narcissism, but a sensitive, sincere portrait of a child actor's dysfunctional upbringing and its devastating fallout.

While the filmmakers' control of mood, menacing atmosphere and unsettling spatial dynamics remains arresting, their story sense grows shaky in a chiller that starts out strong but becomes meandering and repetitive. ... Still, this is classy, intelligent horror.

Unfortunately, the touches that endear us to Hala during the first half of the film are almost nonexistent in its second half, adding up to a choppy, incoherent finish.

So consistently odious, diabolical and simply anti-humane is Cohn’s lifetime portfolio that you really feel the need of a cold shower afterwards. But this kind of dark brilliance is always fascinating, and the doc is able to trade on this all the way through.

There’s no denying that The Tomorrow Man has a knockout ending. But is it worth sitting through the mundane, relatively uneventful film that precedes it? Few will think so.

Mikhanovsky and Austen train an affectionate gaze on their characters, both as individuals and as part of distinct groups that intersect and overlap with uplifting results.

Although it runs out of creativity well before the end of its 100-minute running time, it still coaxes ample good will out of the remarkable life and boundless energy of its 4-foot-7 heroine.

Remarkably, it never comes across as fawning or hagiographic. Instead, Crosby and his interviewers collaborate to create something that feels honest and insightful.

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.

Wang shows an assured grasp of tone, a pleasing eye for unforced composition and a persuasive understanding of the immigrant cultural experience, with its sometimes difficult balance of tradition and modernity.

It’s quite a story, which Berlinger moves along with unrelenting energy.

Gorgeously shot and produced, impressively acted and with a lot of fascinating things on its mind, this is yet further proof that the 35-year-old Mascaro is one of Brazil’s most audacious and gifted filmmakers of his generation.

It's definitely Brugger's most satisfyingly unsatisfying effort. A conspiracy-fueled murder mystery with some hilarious meta-commentary on the genre, Cold Case Hammarskjold is either a stunning piece of investigative reporting that builds to a revelatory climax or a wily trickster's dark critique of the audience's desperate need for answers.

It's the humanity and compassion invested across all the principal characters that makes this contemplative examination of the terrible weight of taking a life so commanding.

Little Monsters irreverently builds enough good will and comic energy in the early-going to carry it to its conclusion, so it’s bound to gather a cult of some dimension.

The film seems so determinedly intent on keeping the audience guessing that the plot quickly segues from being intriguing to annoying.

This unearthed cinematic nugget provides further evidence, not that any was necessary, of the legendary performer's magnetism and musical virtuosity.

Braid ultimately offers far more style than substance. But it provides many memorable moments and stunning visuals along the way, making it a cinematic ride worth experiencing for more adventurous viewers.

Although it features strong performances and some affecting moments, Then Came You suffers from the sort of cutesiness endemic to so many teen-oriented films, not to mention an over-reliance on montages accompanied by a pop music soundtrack that helpfully reminds you exactly what you're supposed to be feeling at any given moment.

Although its plethora of painfully awkward comic moments will produce shudders of recognition for anyone who's been in a long-term relationship, its sweetly sentimental ending makes The Unicorn a perfectly acceptable date movie.

The Man Who Killed Hitler and Then the Bigfoot is a sprawling, meandering drama that doesn't quite deliver on its ambitious promise (and intriguing title).

Its approach to the source material (a close cousin to the Frankenstein tale) is emotionally and intellectually sincere, enacted seriously, if not always engrossingly, by cast and crew.

While not exactly a misfire, Rodriguez and Cameron's joint effort lacks the zing and originality of their best individual work.

Gareth Dunnet Alcocer's script has a tidy, programmed feel that results in a feel-good version of a grim and sordid modern yarn.

Colaizzo’s dialogue often crackles with modern idioms and good pithy comments, flowing from the distinct characters in easy fashion. As a director, he’s paced the action well. He knows what he’s doing, even when he’s doing the wrong thing.