Had it kept prodding at the political parallels of 1990 Berlin and Maria and Henner’s romance, “Someday We’ll Tell Each Other Everything” would have sat beautifully at the intersection between the coming-of-age of a young woman and that of an old country. Instead, Atef opts to stretch out the story, stubbornly tugging at the corners of the narrative, expanding a tale rich in its metaphors until it becomes see-through.

Through intimate access, personalized interviews and mostly sympathetic portrayals of select people inside the White House, Barker isn’t trying to be objective.

Price Check never successfully makes the shift into a higher-stakes scenario, and the chief culprit is a detour to Los Angeles. The tension between Susan and Pete suddenly lapses into a far more conventional direction.

The genre play is an interesting and original take on what has become a cliché genre of Brooklyn relationship dramedy. But unfortunately, the execution of the story is bungled along the way.

A busy web of interpersonal dynamics, Love Life often feels more concerned about its characters’ storylines and the way they all fit into each other than about what the audience might be getting out of watching it all play out.

For all the impressive craft, sense of harrowing anxiety and searing performances on display, Lost Girls doesn’t seem to know how to wrap things up and it hurts the picture overall.

Oxygen may not be the most unique film, but its terrifically panicky and suffocating qualities will leave you breathless nonetheless.

There are a thousand stories to be told in the studios where these session players cut some of the greatest records of all time, which makes it disappointing that there isn't more to be found in the documentary The Wrecking Crew.

Yes, the film is about a game show in the late-’90s that went to cruel levels in the name of entertainment, but The Contestant truly showcases the power of human resilience.

Pablo Trapero’s White Elephant is a smartly acted, beautifully scored, often bracingly directed film of good intentions and big ambition. Yet it can only be called a modest success, and, in light of how strong some of its individual elements are, even a slight disappointment.

The sincerity and honesty of the stories within, as odd as they are, make The Final Member worth seeking out.

More than a documentary, the film is an exposé on the world of global capitalism’s callousness that handily demonstrates their inhumanity.

With no sheen of reflexivity, and no in-jokey admission of its hokiness to hide behind, can this non-ironic un-re-invention possibly work? Actually, yes it can, and does surprisingly well, by approaching the story with a sincerity and sweetness that defy cynicism, and by casting Cate Blanchett.

Mr. Holmes is not so much the story of Holmes' last case, as the story of his last choice: whether to go gentle, or whether to rage against the dying of the light.

At almost two-hours Worth somehow feels almost twice as long. Granted, we understand it’s a cliché to describe a film in such terms, but Colangelo and Borenstein are trying to cover too much ground that is, for lack of a better word, repetitive.

The specificity of the documentary, staying within the walls of the boot camp for virtually the entire movie, is one of its biggest strengths since it is able to place you right alongside these kids.

Ruby Sparks hits that sweet emotional spot much in the same way "Eternal Sunshine of the Spotless Mind" does. While you are at once charmed by the whimsy and romance, there's still a gut punch of emotional rawness just waiting to be delivered.

There’s a ton of truth and ugliness to You Will Be My Son, and the minor digressions into soapy territory keep threatening to derail. It never does thanks to Arstrup, a force of nature who grabs his scenes by the throat and never lets go.

Gabriel often feels like a feat, for both writer/director Howe and Culkin. It's a movie that might not be easy to watch, but is well worth the effort.

What is, at its outset, a rather charming film about the world-famous card mechanic Richard Turner and the obstacles he has overcome, winds up being a searching study of the painful nature of coming to terms with your own vulnerabilities.

While this doc lacks a few crucial interviews, it nonetheless charts the course of one of ’60s television’s most recognizable stars. For fans of Mary Tyler Moore, James Adolphus’ doc is a must-watch.

Wonder promotes the benefits of human decency in a time when those virtues feel limited, and wins you over by being a pretty good film about being good — and that’s good enough for it to work.

The film is not only one dimensional when it comes to its subject, but also of the time and place where Hendrix arrived.

In the new documentary To Be Takei, it becomes clear that Takei is a man who defies expectations and subverts stereotypes at virtually every turn. It’s just a shame the movie wasn’t as progressive as its subject.

The broad-spectrum approach of LA 92 resists easy answers while still holding a strong editorial viewpoint about the overlapping institutional defects that led to the riots.

Brunner puts his ability to invest anything and everything with a malevolent charge to chillingly effective use.

Brydon and Coogan are the same gifted improvisers they’ve always been, shooting the breeze until it sweeps them into some absurd playacted scenario.

The Wind still checks enough of the right boxes to please horror fans; it’s creepy, features some gruesome images, and has a couple standout scares. This film also has its share of flaws; it’s held back by some pacing issues and weak performances.