Director Michael Tyburski and co-writer Ben Nabors' lyrical character study ... deftly balances the cerebral with the soulful in a story of transfixing originality.

Aided by down-to-earth portrayals and a compelling cinematographic throughline that echoes the both ordinary and complex nature of this kind of violence, Share blurs genre lines between coming-of-age drama and thriller. It’s psycho-drama lite, grounded in a quietly intense portrait of how a girl, her family and a small town grapple with the ugliness of sexual violence.

Voracious genre consumers should get off on trying to decipher the densely textured film's murky ambiguities.

The cast commit gamely to the material, although the script is a bit underwritten, making sudden shifts in character a little odd and a bit random.

Slate and Sharp (a Tony winner for The Curious Incident of the Dog in the Night-Time) can't be blamed for their lack of chemistry, and if sparks aren't flying between them, at least viewers can occasionally drown in gorgeous coastal scenery, shot nicely by Martin Ahlgren.

This is an illuminating (self-)portrait of a young artist as well as a mesmerizing chronicle of a consuming, destructive relationship that steadily inches its way under the viewer's skin.

Audaciously cerebral and unabashedly granular, writer-director Scott Z. Burns' political thriller The Report, a dramatization of the U.S. Senate Intelligence Committee's 2014 probe into the CIA's use of torture in the wake of 9/11, is practically pornography for policy wonks.

Batra turns a story that sounds tired and goofy into a lovely film with a tone of tender sadness.

Paddleton sneaks up on you, wresting its way into your heart even while you're trying to resist its overly determined quirkiness.

Hood (Eye in the Sky), his co-screenwriters Sara and Gregory Bernstein and a seasoned ensemble of Brit stage and screen pros deliver a straightforward, solidly old-fashioned slice of real-life espionage, journalistic and legal intrigue that gets the job done in engrossing, clear-eyed fashion even if it lacks much in the way of stylistic verve.

Even in this fictional context, the line between portraying and exploiting abused innocence gets uncomfortably, offensively blurred.

Teasing the viewer with ambiguous evidence is one thing, but the film doesn't seem to know what truth is behind the curtain. Luce the man remains unknown, and Luce the movie a missed opportunity.

Modest in scale but rich in sensitivity, this is an unassuming film, made all the more transfixing by its defining delicacy and understatement.

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.