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

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.

Cannily exploiting #MeToo themes and the opportunities for cinematic mayhem provided by technology-driven smart homes, Held proves an uncommonly thoughtful and provocative suspenser.

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.

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.

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

In the hopes that audiences haven't been spoiled by "Terminator 2: Judgment Day," along comes Freejack, a technically inferior but broadly entertaining futuristic adventure. Though Arnold is nowhere in sight, his spirit looms large. Attempting to fill his vast void are Emilio Estevez and Mick Jagger, an unlikely but likable duo who provide the majority of the film's action...Freejack definitely gives the audience its money's worth. [3 Feb 1992]

It has its own peculiar spirit and casts a very witchy spell, thanks particularly to Gregg's adept handling of both experienced and young, less proven performers.

Introducing is a remarkably moving portrait of a 40-something woman forced to reevaluate her relationships and her sense of self in the face of a chronic illness that leaves her sometimes unable to speak or control her movements.

What's most notable about Todd Stephens' heartfelt salute to a real-life local legend is that the campiness of its outrageous plot becomes secondary to the soulful poignancy.

Somewhere You Feel Free is a love letter to Petty, but also to that most mysterious of alchemies, the chemistry of a rock 'n' roll band.

It manages to put a friendly, mostly female face to all the technical exploits and celestial theorizing, underlining how much the desire to uncover the secrets of the known universe is something that's all-too human.

Oyelowo is sure-footed in his feature directing debut, delivering a smart and wholesome picture with about as little sentimentality as such a tale can have.

A challenging work which punctuates taxing stretches of austere stasis with interludes of sublime beauty — including a ravishingly spectacular underwater finale — it uses a slight fable of a story as framework for some extravagant sensory stimulations.

An engrossing, unfailingly lucid account of a momentous political breakthrough that interrupted a decades-long impasse. Few will be unmoved by its sorrowful timeliness.

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

The film’s wildly imaginative visuals are another plus, with the proceedings feeling so bizarrely trippy at times it’s as if Gunn is aiming to create a midnight cult classic rather than a blockbuster superhero film.

The film’s simple, lower-class setting is met with equally direct camerawork, lighting and editing. This feels like the farthest Farhadi has come from his stage work and the sometimes unconvincing dramatic elements that occasionally creep into his films.

This is Manville’s film, a too-rare star vehicle in which one of England’s most invaluable actors carries us effortlessly on the wings of Mrs. Harris’ dream of egalitarian elegance.

The Northman is certainly a lot of movie, and while its hysterical intensity at times veers into overwrought silliness, it’s both unstinting and exhilarating in its depiction of a culture ruled by the cycles of violence. The cohesion of Eggers’ vision commands admiration, as does the commitment of his collaborators, both in front of and behind the camera.

Sequin in a Blue Room feels very much of the moment, but it’s upholstered by an impressive command of good old-fashioned craft.

As each new wrinkle comes to light, Soderbergh keeps the action wound tight, zigging and zagging like a well-oiled machine.

At a time when the fate of Black men and their bodies has risen to the level of a national emergency, what happens to the characters in Two Gods takes on added weight.

The very personal nature of Taylor’s involvement with these magnificent creatures makes this quite an affecting account of their threatened survival.

Both touching and universally understandable, the theme is how an untimely death destroys the fragile fabric that binds a family together.

Adopting a decidedly younger spin toward its teenage heroes, the hugely entertaining and funny film seems destined to reinvigorate the franchise and attract plenty of nostalgic adults as well as young fans.

At a little over two hours, Red Rocket suffers mildly from prolix stretches, and just like The Florida Project, it could have used some tightening. But it’s a pleasure to put yourself in Baker’s capable hands as he ambles through his loose story with its affectionate, slyly humorous character observations and immersive sense of place.

Arnold plunges us straight into her subject’s point-of-view and never leaves it until the bitter end, during a final scene that’s shocking in its bluntness.