The frequent zigzagging back and forth between the 2010s, the present, the early 2000s and Arulpragasam's childhood becomes quite dizzying over the long haul, and the film almost starts to feel like a work that's gotten lost in the editing suite as the director and subject struggle to say everything about globalism, fame, identity and whatever else comes into their heads, until the film is at risk of saying nothing much at all.

While the curves in the road are new to the heroes, they're well known to fans of indie film, and Long Dumb Road just barely coasts across the finish line before we're ready to get out and push.

While the filmmaking is raw, undisciplined and groaning under a cargo of self-conscious quirks, it scores points for originality and wacky creativity

If the part of the film devoted to endurance lacks the harrowing power of, say, 2013's All Is Lost, it at least gives Woodley the opportunity to convincingly sink her teeth into a plum dramatic lead role as a young woman fighting fiercely against the forces of nature (instead of a dystopian civilization).

Everyone is extremely serious, which can be a bit of a drag at times, but as a study in trauma The Cured has its moments and the film plays best when it remains intimate.

Like Seweryn, Konieczna is a performer with considerable experience on the Polish stage and she fulfils the same function in the film as Zofia does in the family — holding everything together with an admirably unfussy stoicism.

Despite its many engaging moments, Itzhak will likely prove frustrating for viewers desiring more information.

Although well made and acted, the real question surrounding this microscopic look at men enduring the severe pressure of trench warfare is what relevance it may have for a modern audience. The answer is, probably not much.

While the film as a three-hour whole feels unbalanced, a few heart-to-heart conversations between Daniele and Ze cut directly to the core of the material, exploring the uses of fiction and lies in situations like these.

The filmmaker never pulls us into the twists and turns of her main character's mind, and she tiptoes around, rather than tackles, her ideas about class envy, the performative nature of identity and the tension between truth and happiness.

Utterly and passionately hagiographic, the documentary Seeing Allred presents 96 minutes of reasons to stand and cheer for celebrated feminist lawyer Gloria Allred. That means, of course, that for ultra-conservative lovers of Netflix documentaries, it's doubtful that Seeing Allred is going to dramatically change any opinions about her.

Despite many script problems, Levine has kept the film tightly coiled and engrossing throughout.

Moviegoers who don't get a kick out of spotting athletes on the screen may be less than enthralled by the otherwise formulaic comeback flick, but sports-loving viewers will likely be more enthusiastic.

For some of us who look back with affection on John Guillermin’s lush 1978 screen version, there’s a nagging feeling throughout that Branagh, while hitting the marks of storytelling and design, has drained some of the fun out of it.

Perhaps Qu’s near-passive tone is meant to suggest that women don’t have much of a voice in society. But the story's almost complete lack of emotion also negatively impacts the viewers’ interest in the women’s plight. What does come through loud and clear is that Angels Wear White paints an unflattering portrait of not only how women are treated but also of how men try to protect their turf at all costs.

It is a pleasure to watch the present-day Francis interact with people all over the world and articulate his hopes for improving the lot of the poor. The film is humane and unobjectionable, but in the end, it isn’t pointed enough to seize the attention of skeptics in the audience.

Cheang does his able best to balance a love story with the heightened fantasy action expected of the previous two films, and after a rocky start he largely succeeds.

The knack for biting dialogue that Mills brought to Guidance is still evident, although his new effort can’t match the bracing sting of his wickedly funny debut.

While Fowler keeps the story moving efficiently, Marsden's easy geniality prevents the simple narrative from feeling rote. Carrey gets a moment or two to cut loose.

The film suffers from overly melodramatic plotting in the final act that feels contrived. It's far more effective in its quieter, more observational moments.

Infinite Football has moments of nicely deadpan humor and some deft little touches of insight along the way courtesy of Porumboiu's offbeat protagonist — but major league it certainly is not.

For this critic, the events in the home stretch finally feel too much like concessions to the necessities of the laws of fictional drama, with first an unexpected twist followed by a melodramatic one.

Characters come and go quickly, leaving a feeling that there is too much compression of the multi-episode story.

Mostly, Valley Girl succeeds because it doesn't take itself too seriously, instead offering a fun return to the rollercoaster peaks and valleys of first love while reminding us that the experience can change young lives without necessarily defining them.

What stays with you is Jacobson’s grippingly understated lead turn, which promises a fruitful screen life beyond Broad City.

Shifting the film into action mode necessitates several leaps of faith to keep pace with the plot as Powley goes crashing through the forest with near abandon.

You can’t argue with the muscular marquee value of headlining Dwayne Johnson, Ryan Reynolds and Gal Gadot in a slick, fast-paced action thriller laced with playful comedy, even if it’s an empty-calorie entertainment like Red Notice.

Pascal and Thatcher are an outwardly compelling team, though they’re playing constructs instead of characters, hollow vehicles racing through this ragged future as opposed to convincingly long-term inhabitants of it.