Capone is definitely an unconventional take on the twilight of a notorious gangster. Alas, it's not an interesting one, although the borderline self-parodying Method madness of Tom Hardy's performance does kind of demand to be seen.

It ticks nearly every box in the checklist of films you wish you could like more than you actually do.

Mostly, Valley Girl succeeds because it doesn't take itself too seriously, instead offering a fun return to the rollercoaster peaks and valleys of first love while reminding us that the experience can change young lives without necessarily defining them.

Irrepressibly inventive and often impulsively unrestrained, Emily Cohn’s CRSHD guilelessly celebrates digital youth culture and its sometimes messy inconsistency with abundant energy and attitude.

Director Magán displays no flair for action sequences, although the budgetary limitations obviously didn't help. Nor does he successfully pull off the dramatic scenes.

Though difficult to watch, it's a film that helps outsiders confront the horrifying ways such events can cause damage for decades after the fact.

McHale has been shrewd in declining to offer a definitive verdict on the movie, instead giving equal time to both negative and positive responses.

Without being revelatory, the documentary shows the events that made her, points to the things that inspire her and leaves viewers hanging as to where we're likely to see Michelle Obama next — or if that's even the question we're supposed to ask.

While the rough-hewn filmmaking occasionally reveals Rapman's lack of experience working with a larger cinematic canvas, Blue Story boasts an immediacy and energy that perfectly suit the material.

Despite some promising moments, the project never quite takes flight, partly thanks to mismatched performances that don't seem to agree on how quirky this film intends to be.

Amusing but off-key in some unhelpful ways, it's a dorky time-killer that doesn't suffer too much for its familiar vibe.

Despite the fine performances by leads Lena Headey (Game of Thrones), who has herself long been active in refugee causes, and Ivanno Jeremiah (AMC's Humans), The Flood lacks the narrative urgency needed to make watching it feel like more than a slog.

The cast is uniformly impressive in their naturalism, but Lewis, Diemir and Lemire — who have the luxury of actually looking like teenagers — are especially so for their young age.

Clearly Diaz wanted to make a sotto-voce exploration of a difficult and heavy topic — instead of a histrionic melodrama — but in trying to rein in the emotions, he seems to have practically scrubbed them out completely. The screenplay, also by Diaz, is so predictable that most of the characters simply seem to be going through the motions, with audiences remaining at an arm’s length even during the supposedly cathartic final moments.

The main reason the film is worth a watch is the strong performances of its two leads.

Saddled with an excess of voiceover and a shuffled flashback structure that keep the characters at an emotional distance, All Day and a Night feels familiar in both its bleakness and its ultimate offering of hope.

Closeness, the original title of which, Tesnota, also apparently implies being walled-in or suffocated, is dramatically erratic, with tense and compelling sequences alternating with diffuse and/or flat interludes that don't advance the narrative or pay off in other ways.

But if you can check your brain and go along with the preposterous plotting of a mystery thriller as generic as its title, there's a certain baseline pleasure in watching the more or less wholesome young couple at its center swim in a murky cesspool of deception and death. Oh, and diamonds!

The film's timing is fortuitous, as a worldwide calamity might conceivably make governments more receptive to Piketty's proposals for redistribution and reform. But it leaves one wishing for a longer-form project.

A welcome corrective to the abridged and widely accepted narrative that dismisses Cash's first marriage as "troubled," My Darling Vivian relates a little-known love story, great in its own right — and immortalized in Cash's first hit, "I Walk the Line." And it offers a nuanced portrait, loving but not fawning, of a complex woman.

Fans of queer cinema, "A League of Their Own" or just good old-fashioned love stories will find much to celebrate in A Secret Love, including a profound wedding scene that rivals any of the nuptials in cinematic history. As it turns out, there is crying in baseball.

More exciting is Hu's handling of the minutes before violence erupts: His staging and editing pinballs our attention back and forth around the small inn, as conspirators furtively communicate with each other or gauge how to respond to the suspicions of Khan and his underlings. These masterful sequences are a delight.

For anyone who’s had to struggle to escape difficult situations, the self-reliance and perseverance these teens require to improve their lives will seem quite familiar and reassuringly realistic. Pahokee is also a worthwhile reminder for those who haven’t faced similar challenges that things rarely come easy for those from modest circumstances.

Suffers mightily from its limited budget and narrative scope.

Rapu's film is still somewhat scattered; its Earth Day release date only serves as a reminder of the many superior eco-docs one has seen about remote paradises threatened or destroyed by encroaching forces.

There's a lot going on in The Willoughbys, yet if you can get on board with its manic energy and accelerated plotting, the Netflix animated family comedy-adventure has an oddball charm that works surprisingly well.

This is a powerful story that deserves to be told — even if it's rendered in sometimes less than cinematically compelling terms. And at this point in the twilight of her life, Marthe Cohn deserves every accolade that comes her way.

The loosely structured assemblage of damning information eventually proves more numbing than illuminating.