Unfortunately, while Long Lost has its moments, it ultimately fails to capitalize on its intriguing premise.

Captivating and deeply felt coming-of-age fable.

There have been films that treated Nazi doctors conducting evil experiments in concentration camps more sympathetically.

As with any vérité portrait, there are many things that go unexplained. But the images tell us what we need to know: The unforced choreography between Hatidze and the bees.

To say that thespians live for opportunities such as this is an understatement, and Schull, whose restrained underplaying only makes the material more powerful, makes the most of it.

The latest example of the unfortunately fertile trend is a comedy from Josh Huber that features every stereotypical plot element and predictable gag imaginable. Making Babies demonstrates the need for creative contraception.

Whatever its shortcomings, American Relapse deepens our sense of the catastrophe caused by opioid overprescription and over-availability.

Promising but inert genre pic.

A charmer with strong appeal for video release, it is lively enough to merit a niche theatrical run beforehand.

Not exactly the celebration of female promiscuity its title suggests.

When that visual leaves a more captivating impression than a baby elephant spreading its ears and getting airborne like a glider, something is definitely off in the balance. The new Dumbo holds the attention but too seldom tugs at the heartstrings.

A very entertaining film, stuffed with colorful idiots and serves-you-right twists. Silly in ways that reflect poorly of the filmmaker's taste but will endear it to many viewers, it's a true-crime tale that has much to do with Major League Baseball but requires no interest in the sport to enjoy.

The picture is a slow-burning but ultimately empowering drama that works despite a lack of the bigger, louder, more outwardly emotional moments it could have succumbed to.

A Vigilante offers some grim, imaginary satisfactions in support of real survivors who need whatever help we can give.

Proves so determinedly ebullient you begin to think they're pumping laughing gas into the auditorium. The most kid-friendly DC movie so far, the film is thoroughly entertaining.

None of it adds up to much beyond painting the band, despite their often repellently bad behavior, in a flattering light.

It's an intelligent, well-done pic whose restraint can be commended. But it also operates at such a slow burn that it comes close to fizzling out completely.

There's plenty of material here for a reasonably engrossing drama. Somehow, screenwriters Craig R. Welch and Greg Gerani fail to come up with anything remotely interesting.

A good old-fashioned British spy thriller.

Writer David Hare and director Ralph Fiennes have a good feel for the artistic world the story inhabits and professional dancer Oleg Ivenko does a more than creditable job in personifying one of the 20th century’s most celebrated artistic figures, but the narrative bounces all over the place trying to cover too much ground when concentrating on the core drama would have far better served the desired end.

If the title MS Slavic 7 fails to ring a bell, its abstractness conveys the industrious intellectual labor demanded by this witty one-hour Canadian film.

The Man Who Feels No Pain is a fun ride, unashamedly zany and eager to please, even if the humor is very broad and the sprawling plot too baggy for an action-driven piece.

It provides a powerful depiction of the blame-the-victim culture that has so long dominated the national discussion about rape and which only now thankfully seems to be receding. Although there's clearly a long, long way to go.

Observing how six service dogs provide crucial daily help and companionship for their grateful owners, the ruminative, accessible affair proves as soothing to the viewer as the faithful pets are to their humans.

Mitchell proves as interesting a figure as the downtrodden people he's dedicated to helping. More often seen shirtless or in a tank top and shorts than a judge's robe, he would certainly qualify for a "Sexiest Judges of Los Angeles" calendar should one ever be created.

Aside from the provocative premise, The Wall of Mexico has a few other points to recommend it, though it can’t be considered a complete success. Directors Magdalena Zyzak and Zachary Cotler, working from a screenplay by Cotler, have made some miscalculations that undermine what could have been a powerful exposé of present-day xenophobia.

South Mountain transcends the limitations of some nakedly personal films to offer an affecting vision of frayed family ties.

Wearing the proverbial black hat and speaking his menacing lines in a husky, near-whisper, Cusack thoroughly galvanizes the proceedings.