Legrand's decision to leave things intentionally unclear early on so he can draw the audience into the family’s problems and consider them from various sides finally works against the third act’s cold hard facts.

Both in the writing and performance, China is a finely wrought creation, a young lady of manners and a degree of taste but who has been given no guidance, rules, motivation or a stern hand.

I, Tonya spins a convincing yarn despite, or maybe because of, its surfeit of unreliable narrators.

Zero-to-60 speed crazy is pretty much right in Cage’s wheelhouse, and he offers up a perfectly amusing comical workout of the madman shtick he could pretty much do in this sleep at this point. More impressive is Blair, a chronically underused talent who gets to demonstrate her already established flair for comedy and more besides in a role to which she brings a surprisingly level of nuance.

This film of delicate emotional nuance recounts an enchanting but sad love story.

Dyrholm is at her multifaceted best here in the glammed-down, uglified role of an older rock ‘n' roll star on the skids.

James McAvoy and Alicia Vikander make a photogenic pair in this sometimes sweepingly romantic film, the most roundly satisfying fiction feature Wenders has made since, well, that first one about the angel so in love he gives up immortality.

Raw, intriguing and energetic despite its flaws, the film fades in dramatic power over its final stretch and doesn’t always do justice to the the potential richness of its subject, but until then, it makes for an authentic, distinctive and watchable blend of the tough and the tender.

Writer-director Gray's handsomely crafted planet-hopping drama is by turns vividly eventful and deliberate in its uneventfulness, and it feels caught, somewhat awkwardly, between stark simplicity and violent leaps into hyperdrive.

Gilbert is less interested in the ups and downs of Gottfried's public life than in showing what we've never seen.

Though undistinguished as a piece of moviemaking (its aesthetic is best suited to educational settings), the doc benefits from the spectrum of talent on display.

Nowlin’s performance...is a marvel of inner turmoil and physical exertion.

Western is a naturalistic, almost documentary-like feature that slowly builds.

Sensitive performances from the young cast ensure that the story ultimately acquires poignancy, and the arresting physical setting helps disguise the familiarity of some of its coming-of-age signposts.

This schlocky horror picture show combines a zesty young cast with an infectious comic energy.

Director Rourke exhibits confidence and enthusiasm in dealing with such juicy material in the company of her two outstanding young actresses.

Involving and poignant if sometimes less informative than it might be.

Viewers who'd prefer a bit more psychological probing may be left unsatisfied, but most will appreciate this chance to hang out with the legendary whistle-blower.

The film is frustratingly disjointed and hard to follow at times as it inundates viewers with a torrent of information. Nonetheless, it proves compulsively fascinating.

Very funny whatever you think of its more old-fashioned notions, the picture will charm many viewers who can set implausibility aside for a while.

Ultimately, of course, Wakefield himself is beside the point. The controversy over vaccinations will rage on and this cinematic portrait will merely be a footnote. But it proves a compelling one, however you may feel about the burning issue.

One thing's for certain: Not even Charles Darwin could fully figure this monkey out.

It’s an expertly carved chunk of cheese. But taken on its own, limited terms, Love, Simon is also a charmer — warm, often funny and gently touching, tickling rather than pummeling your tear ducts.

The huge political and social divide is in full evidence, but the strength of the doc is that it shows that those sides aren't as monolithic as the red and blue blocks on electoral maps suggest.

Though this anecdote-stuffed doc leaves us wanting more of her songs-and-gags routine, it has just enough clips for us to wish she could return to the stage as well.

The film makes it evident that Bartsch has been a seminal figure in a subculture that, despite her continuing efforts, has come to feel sadly diminished.

Attention-grabbing for its artifice but most affecting when it is unadorned.

Gently amusing while avoiding needless sentimentality.