Beyond Dumbo’s cuteness (which was so overwhelming that I now want a baby elephant for a pet, which is surely not the point of the film) and Keaton’s perfectly over-the-top performance, there’s little to latch on to in this Disney film. It throws so much at the audience that nothing really sticks, leaving such a small impression for such a big movie.

The award-winning filmmaker is a one-woman crew on the project, and Klayman’s tenacious fly on the wall, verité approach illuminates the cynical limitations of Bannon’s cruel human worldview through day-to-day contradictions, far more than an interview-style documentary where such a figure is given a platform to talk in circles ever possibly could.

Above all, Tigerland pays respects to that awe-inspiring creature at its core.

Sober, unflinching and fits perfectly with the current political movements such as #MeToo and #TimesUp.

Cousins’ new doc will undoubtedly be essential viewing for a sea of cinephiles, but it might not easily capture the attention of audiences less familiar with Welles’ legacy.

As a simultaneous introduction and farewell, An Elephant Sitting Still might be one of the best movies that you will only watch once, but won’t ever completely leave your mind.

The Dirt is ultimately supposed to be an unapologetic tribute to living the fast life, but in the end, it’s just painfully dated and pointless with zero depth or insights.

It’s always dangerous to wonder about what a film might have been rather than contending with what it is, but in this case what it is, is so bland, and so stolidly workmanlike in execution that even the most dedicated viewer might find her attention sliding off DP Zac Nicholson‘s ration-book-colored images and wandering to the what-ifs.

It’s not a bad film, by any means, as there are definitely worse action movies to spend 90 minutes with. Yet, there are so many other, better, martial art films out there, with many including at least one actor from this film.

Villains is wacky off the walls fun and it constructs a solid sandbox for its actors to play in and deliver four colorfully captivating performances about the shades and degrees of human wickedness.

With a popular subject, and some downright corny visual devices, The Inventor doesn’t knock it out of the park as neatly as some of Gibney’s other works. Still, it’s a worthwhile and damn entertaining addition to the developing Elizabeth Holmes canon that makes up for its flaws with undeniable watchability.

While Lagoze’s film may not offer any genuinely new insights, it is an unsettling opportunity to bear witness to the numbing chaos of war.

For as impressive and smart as the film is throughout, the weightlessness to the drama keeps it just out of arm’s reach of films that masterfully examine loss like “The Changeling,” but the craft at least firmly plants it in the upper-tier of contemporary horror remakes.

It’s technically impressive and faulty in equal measure, expunging most of the substance in favor of occasionally effective, but mostly cheap, scares.

Oscillating between traditional documentary and experimental, subjective attempts to capture what it’s like to be impaired, Evans creates a moderately successful portrait of, what the film references as, the space between seeing and not.

"Well Groomed" is not revolutionary cinema by any means, but it certainly is enjoyable; and sometimes, an adorable documentary about competitive creative dog grooming is exactly what you need.

The story as a whole, doesn’t quite click.

Elba’s debut doesn’t belong to the upper echelon of films from well-known actors stepping behind the camera – it holds your attention, but it’s never as gripping as the material should be.

Though “Pink Wall” rarely breaks new ground in its focus on the evolution of a couple’s relationship, Cullen’s truly raw, intimate approach helps it feel fresher than it might have otherwise.

What keeps the film mostly on track is its proudly confrontational nature, quick-witted dialogue, and performances to match. But it’s a dark, sobering film too—the corruption, dishonesty and immoral law enforcement practices employed to screw over expendable brown and black people is depressingly distressing and it’s here where “The Day Shall Come” has trouble sealing the deal on its uncomfortable remit of awkward laughs and somber realities.

“Boyz in the Wood” is a jolt of irreverent fun that wants you to laugh at the stupid and depraved behavior of teenage boys but also to know that at the end of the day, the kids will be all right.

On paper, Five Feet Apart has all of the components to fit squarely into the sub-genre of films that have come before it. In execution, the teen romance never packs the emotional wallop it so obviously, self-satisfyingly, believes it does.

A halfway interesting story with a few too many ideas and a lack of tonal cohesion.

It’s easy to admire Green’s decision to tell a personal story that came from the heart, but the end result is, unfortunately, something a little flat, unremarkable and it’s only Ethan Hawke’s terrifically empathetic performance that makes this long and listless journey feel like it’s a road worth taking.

“Everybody’s Everything” is a loving tribute for fans as well as those unfamiliar. And for the latter, the doc truly creates a sense of humanity, awe, and undeniable raw talent that it makes it easy to why his music connected with so many people in such a quick amount time.

By keeping the humor rooted in the performances and only letting sentimentality creep in when necessary, Nelson and Schwartz have crafted a film that feels refreshing, unique, and emotional.

It is a little peculiar as to who the audience for “Good Boys” is exactly. It’s too vulgar for kids who are the age of the film’s characters, and while an adult audience will likely find much to admire and potentially even teach their kids, some of the film’s more sophomoric elements could get a little grating.

As it stands now, The Highwaymen arguably does just enough legwork to justify its existence, but good luck enduring it.