It’s a declarative project, which oscillates between didacticism and experimentalism. What viewers take away from the doc will depend on their familiarity with Woolf novel. Preciado’s film comes most alive when it plays with its source material.

Rather than a pileup of bad behavior, the screenplay offers shifting perspectives as to who’s being sensible and who isn’t, who means well but executes badly, with few characters falling unequivocally into the camp of “right” or “wrong.”

It’s a modestly proportioned movie of quiet magnificence, one that feels spun of gossamer summer light and rooted in unshakeable depths.

With its fine mix of dark humor, healthy anger and self-compassion, this portrait of the artist as a young woman is the work of an inspired filmmaker, and it was worth the wait.

Extensive archive news material is drawn on to explain key moments in the struggle over reproductive rights, but mostly the story emerges organically from the interviewees themselves.

Amanda McBaine and Jesse Moss’ The Mission is an empathetic and reconstructive portrait propelled by questions surrounding Chau’s voyage.

What a concert it is — and what an experience it makes, even in the relatively modest confines of a movie theater.

That the documentary United States vs. Reality Winner achieves its primary goals makes it a fairly successful film. That it achieves those goals while relying tediously on almost all of the genre’s most overused formal devices, offering shockingly little variation from countless other docs you’ve seen on similar subjects, makes it a so-so film.

Totally Killer may not be destined to become a classic in its own right. But the Amazon release is fun enough for a spooky season night in.

Unlike Green’s Halloween trilogy, which served up diminishing returns with each new installment, Believer condenses that downward trajectory into the first chapter.

The movie often toes the line between inner-city clichés and a vision that’s more stylish and unique, never quite landing on the proper balance between the two. But as a touching portrait of an outer-borough New Yorker whose talents are just waiting to be harnessed, it shows some true potential.

The film is saved to some degree by the unstinting commitment of Ronan and Mescal, sweating it out in an environment that’s stifling both physically and psychologically. But the screenplay becomes so overwrought that it smothers any emotional connection to them.

Like so many of his other movies, it’s pithy, punchy, a little shouty at times, but made with brio and swagger.

A Still Small Voice is about listening for inner truth and bearing witness.

The frenetic mayhem becomes tiresome in its repetitiveness, although kids already hopped up on candy and soda will presumably not mind at all.

None of this would work nearly as well without Bell, whose raspy voice and menacing gravitas are so riveting that he makes Jigsaw’s oft-repeated declaration “I’d like to play a game” scary as hell. He’s made the character truly iconic, much like Robert Englund did with Freddy Krueger. Accept no substitutions.

Tülin Özen, in the lead role, delivers a pitch-perfect, tightly contained performance as an astute professional who hasn’t time for own vulnerability.

Much like the songs of Willie Nelson that populate its soundtrack, the film relies on a general uplifting atmosphere as the indefatigable Greta stops at nothing to fulfill her dream.

The film is both a food lover’s dream and an aspiring chef’s guidebook, uncovering the sophisticated alchemy that makes such places not only run flawlessly, but serve up groundbreaking dishes that are also locally sourced.

There will be blood, yes, but mainly there’s a well-written and beautifully performed investigation of yearning and the mysterious realm that apps and algorithms can only profess to quantify.

This is a movie that, its many strengths notwithstanding, seems split between the desire to do something original and an imagination tethered to better movies from the past. That makes it a nostalgic patchwork, not the bold new vision it aims to be.

It should hurt to watch such a relentlessly ruthless piece of work. Yet its savagery feels blunted when nearly every character but Jimmy feels underwritten and nearly every relationship built on plot contrivance.

The film, based on the novel of the same name by Megan Hunter, takes a quiet, emotional approach to the end times, with director Mahalia Belo favoring a meditative visual style.

Wicked Little Letters swerves between comedy and tragedy without ever hitting its stride. The movie is at its best when it doesn’t strain to turn every moment into a joke, instead letting the story breathe a bit.

Despite the best efforts of the directors, Hell of a Summer just isn’t scary. Bryk and Wolfhard know how to tell jokes, but struggle with establishing a truly creepy atmosphere.

Graceful but slight, in the end The Movie Teller tries to do too much and accomplishes too little to fulfill its big ambitions.

The potency of It Lives Inside — and why it might be worth checking out even if it isn’t wholly satisfying — lies in how it introduces Sam and Tamira’s relationship and links it to Hindu lore.

No One Will Save You proves a singularly intense experience.