For both diehard and casual fans, Marshall's entertainingly packaged film delivers a nostalgic tour back over the decades that shines a deserving spotlight on the group's artistry, an element too frequently overshadowed by their phenomenal chart reign.

Despite a warmly interacting cast that includes Jennifer Ehle as Emily’s sister and Keith Carradine as her lion-maned, lionized father, and a valiant effort on the part of Nixon and Davies to externalize the poet’s inner demons in emotional, high-tension scenes, the film can’t escape an underlying static quality that extinguishes the flame before it can get burning.

A welcome corrective to the abridged and widely accepted narrative that dismisses Cash's first marriage as "troubled," My Darling Vivian relates a little-known love story, great in its own right — and immortalized in Cash's first hit, "I Walk the Line." And it offers a nuanced portrait, loving but not fawning, of a complex woman.

Tracy Droz Tragos works to get beyond us-versus-them simplicity in Abortion: Stories Women Tell, focusing on personal narrative over politics in a humanistic look at an issue that promises to remain divisive for the foreseeable future.

Tickling Giants provides a comprehensive examination of Youssef’s career highs and lows while providing a vivid personal portrait of its subject whose cheerfulness and resolve began to wither in the face of constant threats to himself and his family.

An uncompromising drama from one of Iran’s most outspoken directors.

With a delirious mix of the sublime and the silly, Hong Kong comedy king Stephen Chow Sing-chi has taken the kung fu comedy genre to new heights of chop-socky hilarity.

Meru is an engaging and cumulatively exhilarating debut from wife-and-husband team Elizabeth Chai Vasarhelyi and Jimmy Chin.

Armando Iannucci's The Personal History of David Copperfield turns the author's well-loved autobiographical epic into a fast-moving yarn, sometimes hilarious and always entertaining.

The film might be conventionally structured, but the singular ebullience and warmth of its resilient subject make it highly entertaining.

It's the humanity and compassion invested across all the principal characters that makes this contemplative examination of the terrible weight of taking a life so commanding.

Interspersing technical talk with a quick history of nuclear testing and other near-misses, the doc demonstrates how often situations like this arise.

Fancy Dance presents a broader narrative that emphasizes the connections that sustain families, communities and tribal nations, even when confronted with a legacy of disenfranchisement. Tremblay’s film validates the varied expressions of that experience with an affirming account of resilience and hope that sparkles with authentic performances, sensitive scripting and a genuine sense of place that resonate well after the final credits roll.

Scorsese has crafted a rip-roaringly gorgeous-looking, beautifully acted biographical epic. But while firing on all cylinders, there's something oddly distancing about the picture.

Nonetheless, Island of the Hungry Ghosts casts an undeniably hypnotic spell. The documentary also serves as an important reminder that the United States is far from alone in mistreating its would-be immigrants.

Fans of queer cinema, "A League of Their Own" or just good old-fashioned love stories will find much to celebrate in A Secret Love, including a profound wedding scene that rivals any of the nuptials in cinematic history. As it turns out, there is crying in baseball.

Till is more effective as an intimate portrait of devastating loss than a chronicle of the making of an activist. But the film has a powerful weapon in its arsenal in Danielle Deadwyler’s transfixing performance as a broken woman who finds formidable strength within herself.

A thoughtful, provocative effort that makes up for its narrative failings with its astute philosophical musings.

At once impressive and indulgent, hypnotic and patience-inducing with its languorous rhythms. It is, in other words, decidedly not for everyone.

If the feature film reached for, and often failed to achieve, great emotions to match its imagery, the non-contemplative Imax Experience seems even farther from this goal. Vastness and infinity are all fine and good, but the beauty of the universe tends to feel monstrous and inhuman without an element of human chaos to counterbalance it.

One of the more effective entries in what has essentially become a documentary subgenre, the film focuses on the surviving Green Berets who recall their experiences with a combination of pride and sorrow.

As well as building a strong case, through example, of the implications for towns and cities across the country, the film delivers telling glimpses of the personal day-to-day coping mechanisms of the cops themselves.

Like in all of the director’s work, psychologically reductive readings of the characters are absent, though intriguing performances give audiences a way into the material.

What makes Obsession so fun, and so disturbing, is how it takes typical aspects of dysfunctional romantic relationships to initially comic and then horrific extremes.

Gray and his superb cast are in blazing form and full command here in a bruising movie that reveals the heavy price of pursuing the American Dream too recklessly.

Audley (Ain’t Them Bodies Saints), in practically every frame of the film, has to carry this feather-light narrative on his shoulders and does so with ease.

The maturity of the directorial voice is evident in its clear-eyed, rigorously unsentimental assessment of a shattering situation.

Trapped is a succinct and heart-rending revelation of this complex and controversial subject. Most strikingly, it puts human faces on a social and personal issue that has been often engulfed by the invective surrounding it.