Graf has spent most of his long career as a director of TV series and movies, and much of the staging lacks great originality. But this is made up for, in part, by the striking way the story of Jakob and his friends is told mixing the narrative drama with now old-fashioned “modernist” tech devices borrowed from the past.

Wheel of Fortune and Fantasy is full of understated, melancholy poetry.

The directors allow ample space for somber reflections without ever detracting from the fact that Tina, fundamentally, is a celebration, a unique survival story.

This is a comedy that finds poetry in unexpected places: the ancient cuneiform that Alma studies, and the invented past that Tom concocts to explain their romance. With sly humor and no small ache, I'm Your Man asks if we really want our fantasies to come true, and what happens when we fall in love.

Less a sequel than a remake featuring a younger actor going through the same narrative paces as Murphy in the original, Coming 2 America includes so many nods to its predecessor that it feels like a feature-length Easter Egg in search of a movie.

The requiem-like heaviness of the music at times risks pushing Ted K into overwrought territory, but this remains a haunting vision of vengeful obsession carried out by a criminal who makes some provocative points.

Language Lessons, which comes from the Duplass Brothers indie production stable, is a small-scale debut but one graced with charm and genuine heart.

It’s a solid first film, with a firm grasp on its melancholy but romantic tone, which never gets in the way of its propulsive momentum.

The humor is broad, the satirical targets many, the overall effect mixed.

The characters are uninvolving, the emotional stakes never fully take hold and the physical action invariably promises more than it delivers.

Here the burn can be too slow to handle at times, as if the gas had been forever left at medium-low heat. You're ultimately left wanting more from a movie that tries to drift away from the usual policier template, even though shots are fired and bodies drop.

The unconsummated attraction between best friends played by Carice van Houten and Hanna Alström clearly is meant to be its emotional pulse. Yet however sensitive the two leads' performances, The Affair rarely gathers the necessary intensity.

This is all passably satisfying, but would be vastly better if the screenwriters weren't lazily explaining every single detail in voiceover. Grillo generally excels as a man of few words, but here his disembodied voice is a wall-to-wall shag carpet, dampening the fun we'd be having if we could just focus on the mayhem Carnahan delivers.

There's enough good, previously unseen stuff in Biggie: I Got a Story to Tell to make it an easy recommendation, though seeing and hearing stuff you haven't seen before isn't the same as learning a lot of things you didn't know before. It's captivating because Biggie was captivating, without being enlightening.

It's the integrity of the performances by Hovig and Skarsgard that keeps the classy drama so engrossing, with the director making neither character entirely saint or sinner but giving them both infinite shadings in between.

My Octopus Teacher is not the first documentary to plunge us into the otherworldly flora and fauna of Earth's oceans . . . But it is the first to chronicle a single sea creature's story from such a personal, openhearted perspective, revealing not just emotional connections but animal behaviors previously unknown to scientists.

It’s the kind of movie that needs a feather-light touch or plenty of humor to avoid feeling overly parental. Moxie has neither.

The best thing about the movie is the way in which it subverts all the clichés of the star-is-born story.

Raya and the Last Dragon occasionally crawls, but most of the time it’s got urgency and momentum to spare. Just as impressively, it builds to a deeply moving climax whose resolution is unexpected yet consummate. This is a film that knows how to soar.

Three hours long yet anything but leisurely, the doc is charged with energy, anger and disappointment.

The frenetic plot makes about as much sense as it needs to within this world of slapstick insanity, random detours, crazy chases, gambling fever and a talent quest for "the coveted Campy Award." You'll either give in to it, or you won't.

Bolstered by lush imagery and, perhaps more importantly, immensely naturalistic performances from its non-professional child actors, the film conjures up a quietly heartbreaking drama that works on multiple levels. These nuances probably allowed Wang to elude the stringent demands of China's censors.

Tim Story's Tom & Jerry is five to ten minutes of action that might have worked in one of the cartoon duo's shorts, surrounded by an inordinate amount of unimaginative, unfunny human-based conflict.

The film is a staggeringly impressive debut, blending color, sound and story to create an intricate emotional tapestry.

As the documentary vividly illustrates, it's what's motivating that evangelical support that proves problematic.

Walker's story no doubt is grounded in a very real milieu that reflects the grim existence of countless Americans returning from active duty to a country blighted by economic downturn, shrinking opportunity and substance abuse. But the only reality Cherry reflects with numbing insistence is that of co-directors getting high on their own high style.

This well-intentioned if somewhat heavy-handed historical affair is anchored by Coogan’s solid lead turn, with support from Andrea Riseborough as a hard-hitting state prosecutor and promising newcomer Garion Dowds as an executioner who could wind up facing the gallows.

Ultimately, none of the storylines offers a surprise or tells us anything we don't already know, this many years into America's opioid ordeal. And arriving at a moment when Crisis could refer to so many other calamities, its failure to illuminate anything makes it feel like a distraction.