Seeing these likable oldsters talk at length is just about the entire point of this picture, which isn't nearly as good at guiding us through history or explaining technical minutiae as it is at relating to their well-earned sense of pride.

Sandler's drool-accompanied ogling of the female form is now near Woody Allen levels of ick.

Expanding her premise into a reflection on an artist's challenge in portraying reality, the director's By the Time It Gets Dark is a magical, melancholic ode to the intellectual's struggle against the forces of history.

Suffern puts this tragic story to purposeful and, in some respects, inspiring use: The power of forgiveness can be remarkable, and some countries in the world have actually improved over the past 25 years.

Smartly shaped and vigorously told by prolific documentarian John Scheinfeld (Who Is Harry Nilsson, The U.S. vs. John Lennon), the film bulges with insights offered by everyone from family members and close collaborators to the likes of Cornel West and Bill Clinton.

This religious-themed drama earns points for proselytizing in more narratively compelling form than usual. But while the film is watchable and features some effective performances, suffice it to say that it isn’t exactly All the President’s Men.

The result should find admirers among the fanboy crowd, raising the stakes for the team's next feature, even if it has little crossover potential.

Engaging and lively.

Directed with wit and structural precision — there is not a single moment in the film that feels wasted or doesn’t pay off later on — Glory uses two vastly opposing characters (a communications specialist vs. someone who can barely communicate at all) to depict a society riddled with fraud and cruelty.

If all of the overemoting can be ignored, Born in China delivers gorgeous visuals in its close-up perspective on some of the world’s rarest wildlife species, as well as the imposing habitats they call home.

A scrappy but at times uproarious Romanian comedy.

Strictly in terms of basic plot, Eastern Business isn’t exactly innovative. But what makes the film stand out is how perceptive it is about Moldova’s place in (Eastern) Europe and how it uses its characters’ behavior to illustrate points about human behavior that’s recognizable the world over.

City of Tiny Lights exerts tension throughout and remains intriguing in its use of terrorism anxiety and anti-Muslim prejudice as fodder for hasty conclusions.

Though the film’s two halves aren’t equally as strong, with the second half lacking some of the complexity and breathtaking sweep of part one, this is an impressive step up for Quillevere.

Fate delivers exactly what fans have come to expect, for better and for worse.

There is no denying the cumulative power of the material, in large part due the protagonists’ endless reservoirs of humanity, dignity and selflessness in the face of one of the world’s worst biggest current and most incomprehensible tragedies. Light on background and contextual facts, Last Men in Aleppo speaks very loudly from the heart.

The Ticket is underwhelming in several ways, but the performance driving it is magnetic — and helps alleviate some of the bludgeoning obviousness of a morality tale that New York-based Israeli writer-director Ido Fluk hasn’t fully figured out how to tell.

Even if the immediacy of the director's approach gives the material an electric charge, 100 minutes of it becomes monotonous.

Unfortunately, he (Schwarzenegger)doesn’t quite have the chops to do full justice to the material, and his decades-long, popcorn movie image proves a further impediment. Despite the seriousness of his intentions, Aftermath doesn’t pack sufficient emotional punch.

The real crime in Going in Style is its waste of acting talent.

The tale is told entirely through Rock’s perspective, with no friends, colleagues, or talking heads weighing in. But that turns out to be no detriment, since the Cambridge-educated photographer proves a witty and rueful commentator whose observations are infused with self-deprecating humor.

Despite its recycled tropes, the comedy-drama manages to be both funny and moving even if its emotional manipulations are fully apparent.

Though its cinematography is nothing to write home about, the action Alive and Kicking captures is so transfixing, one marvels that dancers can keep it up for five years, much less five decades.

Described by Werner Herzog as “a daydream that doesn’t follow the rules of cinema,” Salt and Fire may be rule-breaking, but the result is one of the director’s least appealing adventures.

It’s Gay’s most emotionally direct work to date, thoroughly shedding the clever-cleverness of some of his earlier work, and also his most accessible — a clean-lined, sensitively-written and beautifully played two-hander that tackles complex issues in a refreshingly straightforward, downbeat way.

Although visually observant, the film’s narrative remains frustratingly vague, disclosing little about its central characters and often burying the principal plot points.

Circumstances that might have been static in less skilled hands are given tantalizing life by Young, the actors and the deft camerawork of cinematographer Ryan Balas.

Hubby captures an artistic personality that could manifest big ideas without a shred of snobbery, could deflate pomposity while still inviting deep thought.