The film prefers to share its protagonists' struggle, not lionizing the risks they take but also never questioning them.

Crass, colorful and hanging together by the barest of threads.

Aside from its novel premise, however, Madam Yankelova's Fine Literature Club proves a darkly witty effort that weaves insightful observations about female sexuality and aging into its provocative mix.

An easygoing, unashamedly old-fashioned picture executed with a light touch that conceals a serious and sharply topical subtext.

The Great Hack uses a decent rehash of the Cambridge Analytica scandal as the starting point for an interesting two-pronged character study, an instigation for provocative ideas about data crime and what is ultimately a really, really, really conflicted look at when it's terrifying having corporations learning things about our online habits and when it's cool.

A fascinating look at an artist's life.

Grandinetti, with a bushy 1970s mustache, has the thankless job of carrying a film in which he plays a morally compromised character, which doesn’t directly warm him to the audience. But he does so with his trademark intelligence and grace, turning Claudio into a generally decent man who makes a few very bad choices.

Interweaving two distinct storylines linked by recurring characters imbues the narrative with a powerful resonance though, somewhat undercut by the more prosaic contemporary scenes, which lack the same degree of tension as the mountain segments.

If director John Hancock's work is sometimes atmospherically colorless, he pulls scenes together that seem to be going nowhere and acquits himself most notably with the performers.

Though sympathetic to a woman they have known for over 30 years, Mark and Bell make no positive or negative judgments about her life.

The attention to character, group dynamics and emotional texture makes the film often feel more alive in its quieter moments than its fairly routine CG action clashes. But the depth of feeling helps counter the choppy storytelling in this new tangent in the MCU narrative

While its disparate elements don’t meld together as smoothly as they should, they do, in the end, add up to a superhero movie fresh and fun enough to feel worth a spin.

There’s no question that Hanks is perfect in the part, as the actor’s amiability and unquestionable sincerity make for an ideal match with the unique television personality. Marielle Heller's film itself, however, is a rather more modest achievement, sympathetic and yet entirely predictable in its dramatic trajectory of making a believer of an angry, cynical journalist.

Despite its paucity of action and some unnecessary repetitions that extend the running time, the story rolls on smoothly.

Though not very subtle in presenting its thesis, the story is generally suspenseful and well-told by young HK actor and director Tsang (Soul Mate).

Despite Erivo's tenacity in the role, the drama feels more stately and impressive than urgent and affecting. It's never uninvolving though, and the script does a solid job of tracing the formation of a courageous freedom fighter out of a scared runaway.

A straightforward biopic ... The film's edge is somewhat dulled by respect for its subject, who's drawn here as more hero than man.

Although, structurally speaking, the production follows a safely familiar path, it doesn’t require a lot of fancy footwork when you’ve got an enthusiastic on-camera fan base including Bruce Springsteen, Scorsese, Eric Clapton, Taj Mahal and Van Morrison, a terrific storytelling arc, a treasure trove of archival footage and, naturally, those iconic songs.

Ultimately, The Last Duel is the affecting story of one woman’s quiet heroism that requires you to wade through a lot of blustery accounts of the honor, the pride and the wars of men in order to get to it. Which is kind of like perpetuating the patriarchy.

Eminently entertaining ... Sure, it shamelessly panders to our collective sense of duty to support the troops — and, of course, also support the families that support the troops — and maybe it's more than a little manipulative and formulaic. But gosh darn it, it's hard not to warm to a film that features an a cappella version of Yazoo's "Only You," a near-derelict car that may or may not be called Shite Rider and Kristin Scott Thomas having a verbal catfight in a parking lot.

Estes finds a way to twist things up, organically adding a Groundhog Day element. Time's still moving forward toward Ashley's death, but the detective work gets more interesting.

Rounding up all the original's stars and throwing several more surviving human characters into the mix, the pic is plenty entertaining for those of us who, paradoxically, find zombies comforting in dark times.

The screenplay and the actors ooze charm as well as intelligence early on but the second half is more like a sleek thriller, something that's efficient but less jocular and surprising.

What The Perfect Candidate lacks in sophistication it makes up for in intuition, entwining the longtime taboos of music (especially the female voice) and women's active participation in political life in a positive storyline.

[A] gorgeously shot and sensitively acted drama, a demonstration of range from the actor-turned-director.

The famous dreamlike lighting and mise-en-scene are always perfect in capturing human foibles. But the offbeat sense of humor that characterized the trilogy is less evident than ever.

A range of camera positions, from wide landscape shots to ultra-intimate close-ups, instead allows us to appreciate the two hounds in their adopted setting of the Parque de los Reyes.

Sharp performances and direction help make up for a spotty screenplay.