A surprisingly uncritical doc from a filmmaker whose rep is built on skeptical investigation, Joe Berlinger's Tony Robbins: I Am Not Your Guru doesn't seem to know whether its title is ironic or not.

Like other recent French cartoons — ranging from Persopolis to the Kirikou series — this one manages to maintain something personal within a broadly appealing framework: it doesn’t shy away from the dark side of life, and in the end, even allows us to enjoy it.

Shock doc The Blackout Experiments augurs to be an experiment in audience walk-out.... it is neither scary nor shocking.

Not as committed to its spacey perceptuo-metaphysical premise as it seems at the start, the film seems more interested in whether one woman can convince another to buy into a project she doesn't understand.

Utterly lacking nuance and any sense of proportion, the irresponsible film depicts Democrats not as possessing misguided political ideas but rather as "depraved crooks" and "hateful people."

The story’s anchored by strong performances from Belgian star Cecile de France (The Kid With a Bike, Hereafter) and French singer-turned-actress Izia Higelin (Mauvaise fille), who have a natural chemistry that’s not only credible but actually infectious.

Reclaiming Kristina as an icon of queer liberation and female empowerment is a worthwhile premise, but sadly the finished film is a stodgy multinational pudding that fails to give this concept wings.

The lead performances have power, whereas pictorially the film is pretty rough and ordinary.

A textbook case in which personal eccentricities and addictions collide with musical brilliance, the story of New Orleans pianist James Booker is so colorful it's hard to believe nobody has made a biopic yet

It's a gripping ride through the storm...with powerful imagery, a simple and accessible story and a stellar performance from Kim Yoon-seok.

While Beyond won't unseat 1982's thrilling The Wrath of Khan as the gold standard for Star Trek movies, it's a highly entertaining entry guaranteed to give the franchise continuing life.

Sometimes all a documentary needs is one strong, charismatic personality to keep things watchable: Garnet's Gold boasts two in the form of the middle-aged eponymous protagonist and his feisty octogenarian mother.

Although a bit too diffuse to fully realize its potential, the documentary is an evocative portrait of its subject.

The first couple of reels are very loosely structured, with no one identified onscreen, which gives the film a verite edge but which also means that it takes a good while for the material to find its footing and make it clear what and, more importantly, who, the film is exactly about.

Throughout, Wang makes a virtue out of necessity: Her on-the-run scoping and jarring cuts infuse the film with a sense of desperate danger befitting its subject matter.

Under the stilted direction of Alex Ranarivelo, it's all as clunkily melodramatic as it sounds, with the climactic trial sequences proving particularly slow going.

The actors impressively give it their all.

It's all busy-ness, noise and chaos, with zero thrills and very little sustainable comic buoyancy.

This lugubrious indie drama is affecting in parts but never gels into a satisfying whole.

Stuffed to its statement earrings with celebrities, fashion folk and comedian chums making cameos, this breezy blast of bawdy jokes and Bollinger product placement should lift spirits in a post-Brexit Britain.

In Order of Disappearance provides a wonderful vehicle for Stellan Skarsgard's stone-faced gravitas and calm intelligence.

Both surreal and sinister, it feels like we are watching a real-life version of The Truman Show.

Cranston turns every moment of duplicity, which is to say nearly every scene of The Infiltrator, into an emotionally textured high-wire act.

Mike and Dave Need Wedding Dates rates medium on the grossness scale (an all-body, pre-marital naked-Indian-guru-administered massage for the bride with a happy ending, anyone?), and pretty high in crude talk. But it's kind of a dud when it comes to endurance and imaginative moves.

DeMonaco has further upped his game with the third installment by working closely with franchise cinematographer Jacques Jouffret to design rewardingly more complex action sequences and well-focused set pieces that are both efficiently executed and visually engaging.

The Legend of Tarzan isn't half-bad; actually, it's pretty good. Beautifully made and smartly set at the beginning of Belgian King Leopold II's rapacious colonization of the Congo in the 1880s, this is certainly the best live-action Tarzan film in many a decade (which, admittedly, isn't saying much) and offers a well-judged balance of vigorous action and engaging-enough drama.

Inspiring as her journey may be, however, the film tracks an overly familiar arc, dwelling on Shields' disadvantaged background, teenage romance with another young boxer and family turmoil but providing limited focus on the sport of women's boxing or the complexities of obtaining training sponsorship or lucrative endorsements.

Unlike the films he’s co-written for Jacques Audiard (A Prophet, Rust and Bone…), which often rely on Audiard’s stunning capacity to foreground grand emotional sweeps, this is a much more constructed narrative that could only be described as a writer’s film, though one with several pleasant — if shocking is your idea of pleasant, that is — surprises up its sleeve.