It is overlong, uneven and frequently obscure, but will succeed by virtue of its sustained action, even though what it attempts to say, if anything, remains elusive.

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.

The sense of love dissolving and lives thrown into chaos as a dormant past violently breaks through the surface is unexpectedly moving, all the more so because of the film’s rigorous rejection of sentimentality.

Aided by down-to-earth portrayals and a compelling cinematographic throughline that echoes the both ordinary and complex nature of this kind of violence, Share blurs genre lines between coming-of-age drama and thriller. It’s psycho-drama lite, grounded in a quietly intense portrait of how a girl, her family and a small town grapple with the ugliness of sexual violence.

One of the most enriching and enjoyable docs about a filmmaker in recent memory.

The film’s ambition and dexterity is somewhat of a mixed blessing, with, for example, character motivations given short shrift in the sprint to the finish line.

Kristina Lindstrom and Kristian Petri’s fascinating, if diffuse, documentary fills in that considerable blank in his public profile while making clear the lingering emotional impact of Andrésen’s brush with fame.

Damning documentary pairs an individual sex-abuse case with analysis of institutional dysfunction at the Vatican.

Megalopolis, the film, may not be lots of fun to sit through, but its making-of, Megadoc, is a blast, offering a rare inside glimpse at a major movie artist at work.

Just about everything about this film is winning and gratifying.

The impact of spectacular action on striking international locales is moderated somewhat by the repetitive nature of the challenges faced by this rebooted team of American agents.

It’s hard to think of a less dramatic subject to fictionalize, yet in its own quiet way, Hive builds a strong storyline around the self-reliance and determination of an uneducated country woman, played with glammed-down but riveting cool by a granite-faced Yllka Gashi.

Smartly put together, with interesting characters and caustic wit.

A wonderfully vivid and engaging theatrical experience.

Unlike his songs, the film holds something back. It goes deep into a life filled with as much trouble and pain as triumph and accomplishment but never quite gets at the root of who Ray is.

Regardless of critics' assertion of a change in style, Hong core group of intellectual admirers will still find pleasure in his cerebral film language, nuanced dialogue, and droll observations of a Korean abroad.

While the races, which go back hundreds of years, last no more than 90 seconds each, Palio packs enough intrigue into its proceedings to practically fuel a miniseries.

Yan’s film mines several prominent social issues to contextualize the improbable plot, including socioeconomic mobility, environmental degradation and market speculation. Rather than just documenting their prevalence, she demonstrates how they coalesce to create a conflicting array of impacts for her characters.

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.

What Demoustier has done here, and done quite successfully, is taken a basic mystery plot, like something out of a TV movie, and used it to ponder how each one of us could react to a ghastly crime, and how we expect others to react in turn.

Cavalcade is a fine, splendid document of the folly and resultant decline of civilization through the tragedies of war. It is Noel Coward’s contribution to the cause of peace and, as such, it is effective historic pageantry.

A haunting lead performance from Marco Pigossi, steeped in melancholy and raw pain but also in moments of openness, optimism and even joy, helps make High Tide an affecting portrait of untethered gay men seeking meaningful connections.

The documentary is generally engaging, and putting Spiegelman in a spotlight will always be worthwhile. But Disaster Is My Muse is in the shadow of Crumb, in the shadow of Maus and just a little bit behind the times, in various disappointing ways.

There’s brutality but also an understated hint of poetry in the way Bratton tells his story from deep inside it, making beautiful use of Baltimore experimental pop group Animal Collective’s richly varied electronic score, which often plays in gentle counterpoint to the harshness of what’s unfolding.

A biographical documentary doesn't get any better than this.

Downey and Monaghan are wonderful at playing characters that compensate for the harshness of their past with flippant swaggers.

A film whose every shot seems lifted right off the wall of an art gallery and just as powerfully, if quietly, satisfying.

This sequel to 2016’s smash hit Oscar-winning animated film proves more than worth the lengthy wait, knocking it out of the park with its dazzling visuals, sophisticated humor and doses of genuine emotion.