Absent from Young Ahmed is the frenetic urgency that defines the directors’ greatest work, replaced here by the titular character’s unshakable tunnel vision.

Freewheelin’ and almost similar to a long jazz riff that could have been reigned in, Husbands is occasionally fascinating and often tedious.

Ultimately, the lack of risk-taking not only makes for a pedantic experience but ironically serves Tubman very poorly, never allowing for Erivo’s performance or the spirit of the subject to ever feel truly free.

The Return is one of the few instances where we wish for more fiery blood and guts rather than less. Even so, this is a superior rendering of a well-worn tale

Kingdom of the Planet of the Apes works as a movie in its own right and as a reset on the rebooted franchise. It seamlessly sets up a sequel or sequels that you are left wanting to see. See this in theaters, and we might just get them.

Operating for much of its running time with an equal balance between guilty pleasure grittiness and decent father/daughter drama, the film’s conclusion tips toward the latter in an unconvincing shift toward sentimentality and Life Lessons that not only is out of place, but betrays John’s own code of stoic endurance.

As a world-building exercise, Fantastic Beasts often succeeds. It’s charming, playful and welcoming in ways these movies haven’t been since the first two installments, and the patchiness of the plot is often forgiven because these characters are likable, rather affable, and well-cast.

Beloved Sisters might scratch your costume drama itch, but it’s not among the genre’s best.

Alluring and captivating, Thou Wast Mild and Lovely can’t ultimately overcome its undeveloped arty tendencies, but its hazy exploration of dread and desire is still unique enough to make an impression.

Blisteringly caustic as ever, John Lydon nevertheless reveals himself as an occasionally sentimental sort in Tabbert Fiiller’s fitfully revelatory and charming documentary.

Mielants and Porter end the film in a manner that is almost offensive to the audience. This isn’t about providing a spotlight for kids with behavioral issues or the professionals who commit their lives to them; it’s melodrama for melodrama’s sake, with an awkward attempt at a “happy ending” that is borderline cringe.

Deadpool 2, while extremely thin on plot, is gleefully impish, entertaining and often laugh-out-loud funny. Almost everything that felt forced, crass and hamfisted in the original film now feels organic and effortless; a constant breezy stream of gags, quips and expertly choreographed action. Deadpool 2 is filthier, funnier and ferociously manic.

A movie about deep regrets, taking them head-on, forgiving oneself and more, The Way Back, on paper, has so much potential for clichés about demons in a bottle. Instead, and triumphantly earned, this affecting path to redemption is a piercing portrait of man and actor who, when the clock’s winding down, can drain the shot that matters most.

Turtletaub does have a hard time finding a way to conclude Agnes’ story, but he ends Puzzle on such a delightful note of simplicity, that this near-perfect movie nevertheless stuns.

It’s not that anyone else in the movie isn’t good. But no one ever quite matches the unrivaled brilliance of Pike when given a clear runway to strut her skills. Seeing her in peak form nimbly navigating the tonal minefield of this late stage capitalism critique is an absolute delight.

The Infiltrator is ultimately a solid, if not exceptional, Scorsese takeoff, one that has just enough spunk and wit to make up for its often-apparent shortcomings.

The script finishes up exactly where you think it will, but along the way, there are enough surprises and perfectly delivered lines to make it a blast.

The greatest pitfall of Mary Poppins Returns isn’t the familiarity; it’s the cohesion, specifically the lack thereof. The narrative tissue is merely an excuse to set up each extravagant musical number, but the best musicals don’t forget to make the non-musical moments count.

For all its safe choices and standard narrative, The Idol succeeds in communicating its message that the Palestinian people deserve a voice and representation. Its most powerful images somehow aren’t shots of Muhammad’s wonderful singing; instead, it’s the reactions of the Palestinians to those performances and cheering on one of their own.

Giroux’s film is a quietly moving drama that can be a little too quiet and slow at times, but it deserves credit for never jumping into melodrama.

As striking as some of these performances are, 6 Balloons is not without its problems. At a barebones 74 minute running time that doesn’t dive into the emotional texture as much as it could, 6 Balloons at times, feels slight.

Last Passenger is a good antithesis to the overloaded and cluttered action Hollywood seems to love nowadays. If you're not feeling especially picky on plot or character, you won't go wrong with this compelling and stylish train thriller.

Barrett and Wingard are clever filmmakers, but unlike many modern day horror directors, their cleverness never gets in the way. There's an earnestness to the entertainment in You're Next that is truly admirable, and at the end of the day it's a super enjoyable way to spend an hour and a half.

Low rent, CGI splatter effects by the bucket-full honor the Troma roots of this property, while practical costume, make-up, and production design speak to the reverence of the same. It ain’t pretty, sure: but that was never the Toxic Avenger’s style. Blair and company understand this, and the movie (world?) is better for it.

"In Viaggio” is far from a puff piece disguised as an unbiased account. The power dynamics at play are ever-present, the same interactions that bring the Pope closer to his subjects denouncing the hypocrisy of sanctifying a man who preaches for equality.

Unlike its subject, Radical Wolfe would rather be liked than start something.

They Call Us Monsters is restrained, sensitive and quietly heartbreaking.

Patterson’s latest film sees him painting on a broader canvas with such boundless care and unwavering confidence that it becomes beautiful to witness him spreading his wings as fully as he does here.