It is not just a tough sit; it is nearly impossible to get through.

The result feels like two incomplete movies in one, neither of them fully satisfying in the end. Still, there are some graceful moments scattered throughout, especially in the Haitian sequences, while it’s also rather refreshing to see a brand new take on a subject that’s been worked to death elsewhere.

Q Ball delivers a stirring and moving portrait of a program that provides inmates an opportunity to channel their energy in non-violent fashion.

Funny Story (co-written with Steve Greene) proves much more polished than its pedigree might suggest — a warmhearted seriocomedy that, even when not thoroughly convincing, projects a disarming sincerity.

A stylishly made, nail-biting effort that proves consistently engrossing.

Quickly paced and based on a novel, and creepy, idea, the film fritters away its potential by delivering only a modicum of horror and compounding that disappointment with some creaky performances.

Portraying his most complex character to date, Adkins delivers a ferocious turn that proves visceral in its emotional as well as physical intensity.

It works mainly in fits and starts, though there's no question that the movie's depiction of the effects of Soviet rule on a nomadic population will be eye-opening for many Western viewers, and deeply resonant for Kazakhstanis.

It's much more dry than one might expect, demonstrating the truth of something interviewees suggest more than once: As intriguing a person as Berg was, it was not easy to know him.

Rich with revealing observations and engaging anecdotes, Slater’s documentary skirts the nostalgia trap by entertainingly connecting with an impressive lineup of contemporary singer-songwriters referencing the influential '60s pop style with their own releases.

There’s nothing glaringly wrong with the new movie. ... What’s missing is the blazing urgency.

Sachs offers many gentle pleasures in his latest film ... That said, this is definitely a second-tier entry from the director.

Like much of Bong’s work, Parasite is cumbersomely plotted and heavy-handed in its social commentary. The largely naturalistic treatment here may also alienate some of his fantasy fanboy constituency. That said, this prickly contemporary drama still feels more coherent and tonally assured than Snowpiercer or Okja, and packs a timely punch that will resonate in our financially tough, politically polarized times.

Documentarian David Modigliani's straightforward campaign film Running With Beto captures the excitement of that near-victory and celebrates the grassroots work done by passionate volunteers. But mostly it is a tide-me-over for progressives who are heartened by last year's victories and need to maintain that optimism.

It isn’t that the sequel, directed by the returning Chris Renaud and again boosted by an energetic voice cast, doesn’t deliver on the genially amusing, if disposable, fluff — it’s just that the shtick-heavy storytelling proves even more undernourished than it was for the first outing.

The doc swells with wonderful archival footage that immerses you in the hedonistic environment the principals occupied, but in ranging wide it somehow doesn’t go deep, or at least deep enough, into its twin protagonists to satisfy as the full story.

Even with its imperfections, the expansive scope of this tribute seems entirely fitting for an industry giant who put America on the global fashion map.

The combination of diverse casting and female empowerment themes results in a perfectly politically correct Aladdin for these times. The only thing that seems to have been left out is the magic, which is a bit of a problem considering that one of the main characters is a genie.

While not exactly original, the premise is certainly effective enough. But Brightburn lacks the visual stylization or wit to elevate it from the realm of the crudely effective B-movie.

Once Upon a Time… in Hollywood is uneven, unwieldy in its structure and not without its flat patches. But it's also a disarming and characteristically subversive love letter to its inspiration.

The script may hum and buzz with twists and require concentration, but that's not exactly the same as being intellectually satisfying and rich the way Porumboiu's earlier work was. They were closer to profound; this is just clever.

In the end, Young Ahmed feels like little more than a pained shrug, elegantly made, yes, but vaporous and virtue-signaling an empathy that's more gestural than heartfelt.

A film that doesn’t hit you like a tidal wave as much as it gradually washes over you, leaving in its wake a series of memorable set-pieces and a dense, dark web of violence and fatality.

The director's latest rise-and-fall chronicle suffers from a few structural problems that did not bedevil Senna or Amy. Most obviously, the subject is still very much alive, which may explain why this officially endorsed film feels more cautious and compromised than it might have been.

Heavy-handed and predictable in spots, yet engrossing and provocative in others, it’s an impressive if somewhat unruly debut

This is minor Herzog, to be sure, but alternately amusing and disarming nonetheless. It also makes an implicit request: Analyst, analyze yourself.

The script intelligently dishes out key information in each vignette, with the scenes separated by major narrative ellipses that force the viewer to work a little in order to figure things out.

The movie delivers its share of shudders, along with fabulous arias of anger, wrath and disgust from both actors as the power dynamic bounces back and forth.