The American Side is a loving homage that should be of particular interest to film buffs who can play spot the references.

Audience’s tolerance for this kind of heavy-handed, occasionally very mannerist symbolism may vary, though Messina does ensure that the religious parallels never completely eclipse the contemporary characters.

It's never fun watching a comedian's shrewdness ossify into shtick. Yet whatever incisiveness Ricky Gervais once had (and he had plenty, if The Office and Extras are any indication) is barely evident in the new Netflix-released satire Special Correspondents

It feels like every script-reader in the Italian-Swiss-German-Albanian-Kosovo coproduction cut out a line of dialogue in each scene, leaving behind an irritating silence and an enigmatic puzzle for the audience to second-guess.

This lame effort represents international collaboration of the most mediocre kind.

The documentary will nonetheless strike an emotional chord with anyone who's grown up eating the product it celebrates. And over the course of 100 years, that's a lot of matzos.

What’s particularly admirable here is the way the cast and filmmakers illuminate not just the wit and charm of young men, but also the callow cruelty of youth, driven by a killer combination of naïve idealism, solipsism, poor self-esteem and raging hormones.

When it isn’t trying too hard to be instructive or jokey, Tykwer’s film fluently conveys the hard truth of diminished relevance, geopolitical as well as personal. Hanks’ portrayal of a man caught between utter defeat and a yearning to begin again is pitch-perfect.

Featuring hilarious yet acutely observed performances by Michael Shannon and Kevin Spacey as the titular characters, Elvis & Nixon, receiving its world premiere at the Tribeca Film Festival, is a hoot.

A certain integrity and seriousness of intent gleams through, but Nina is just too big a subject, and talent, to be compressed into such a small package.

An officially sanctioned but pleasingly gush-free cinematic monograph.

German Kral's Our Last Tango balances between a studious fascination with the dance form's history and an embrace of the passions it stokes. Far more engrossing than the usual doc of this sort.

Although it's hard to avoid the feeling of invading their privacy at times, the viewer becomes thoroughly invested in the fate of the film's subjects.

The determined, gently cantankerous oldster's personality is the main attraction here, in a doc that takes viewers' interest for granted.

Though less novel than Flanagan's previous pic, Oculus, Hush finds plenty of ways to flip roles in this cat-and-mouse game, letting his heroine get a bead on her stalker only to see the advantage taken away from her again.

The First Monday in May should prove catnip to fashionistas.

The only people sure to love this concoction are those working for Rio's tourism bureau.

Alternately both repetitive and repulsive, this home-invasion thriller never quite hits its stride.

Despite its promising set-up, Hostile Border lacks narrative tension, with the screenplay by co-director Kaitlin McLaughlin never quite coming into dramatic focus. The characterizations feel sketchy, and the paucity of dialogue proves more frustrating than atmospheric.

In his first narrative feature, documentarian Nitzan Gilady demonstrates an assured grasp of visual storytelling, using a stunningly rugged desert setting that’s as much a character as the film’s perpetually sunny, intellectually challenged 24-year-old and her world-weary mother.

Puts a human face on the issue of income inequality.

Posing serious questions about violence and vigilantism while reveling in both, Captain America: Civil War is overlong but surprisingly light on its feet. It builds upon the plotlines of previous Avengers outings, bringing together known marquee quantities and introducing the Black Panther and a new Spidey in winning fashion.

The trouble with Chongqing Hot Pot is that despite its brief running time, it takes too long to bring its various threads together.

The film feels at once incredulous and strangely inept, with the director resorting to facile plot twists or heavy-handed pathos whereas a little subtlety and sense would have went a long way

Colonia marks a truly misguided attempt to fabricate a Hollywood-style thriller out of the darkest quarters of Latin American history.

Florence Foster Jenkins is a modestly enjoyable crowd-pleaser, but it ultimately feels smaller than its subject, a deeply conventional portrait of a highly unconventional woman.

Barbershop: The Next Cut, the third installment in the film series, brings the laughs while injecting a serious topical theme that gives it a welcome edge.

Unlocking the Cage makes its case for reevaluation of non-human animals' legal status in crisp, convincing fashion.