In digging up what seems to be his own personal history, Honoré doesn’t trust the audience fully to fill in those silences.

Sentimentality, earnestness, and the ability to tap into naked vulnerability—normally [Gunn's] great qualities—get the best of him, turning ‘Vol 3’ into a largely maudlin, overwrought, overstuffed, and melodramatic mess that only works in fits and starts.

Crown Heights works best when the political and the personal merge with the insidious nature of corruption and systemic cultural, societal and economic oppression.

The First Step engages without patronizing and tries to provide a balanced portrait of Jones and his causes.

If Us Kids had shed its extra weight and fine-tuned its focus, the nonfiction feature might have bloomed into a decade-defining documentary.

A somewhat cool robot does not make a movie. ... The eventual twists aren’t that surprising and don’t really make sense in the context of even the film’s most basic world building.

This bloated documentary will not create any new fans of Led Zeppelin because MacMahon caters exclusively to the group’s superfans.

Even though it’s far from perfect, “Danny Says” is recommended to fans of punk and rock history.

Formulaic, and at times a bit Sundance-by-numbers, it's still hard to deny that the charms of St. Vincent work even if you clearly can see the narrative machinery moving.

A drama crafted with precision, and feeling, West of Sunshine succeeds admirably with its modest ambitions, as the filmmaker puts himself on the horizon as one to watch.

Cliff Walkers quickly drops us into this winter wonderland, all whites, grays, and blacks, and delivers some of the most mesmerizing landscapes you’ll see all year. But for a film about undercover operatives, it lacks thrills, and it doesn’t give us any characters we can latch onto.

The Villainess confounds its audience on two levels: firstly, how the filmmakers pulled off the elaborate set pieces and secondly, leaving them to wonder what the hell is going on in the plot.

Despite a script that’s as obvious as a treasure map, Low Tide works because of its leads. The four actors have never been better.

Salvatore Totino's crisp 3D photography and Kormakur's way with a clear, fluid, thrilling action sequence show off the mountain in immensely impressive ways. But the humans involved get short shrift.

There are enough subplots to fill every room in the estate, but none of these stories are fleshed out.

Supermensch is a strong first outing from Myers that plays like that one round of drinks that gets everyone telling stories at the end of a boozy night.

Frustratingly uneven, Kelly & Cal is too glib and prosaic to truly be insightful or impacting.

Young Bodies Heal Quickly is a haunting film, mostly because the title remains forever in doubt.

A handsome production and ambitious in scale, the impact of The Traitor is muted by the familiarity of its well-worn tropes.

Even if not exploited for all its nuance, Mescal’s affinity for conveying tumultuous emotions, plus his chiseled physique here, serves Scott’s tale well, and successfully introduces the Irish actor into the realm of major Hollywood productions.

Yes, Naishuller is an inventive action shooter, and if highly-tuned, keyed-up action orchestration is your game, Nobody will light you up, no doubt. However, if you’d love to see the intriguing ideas—that the movie itself proposes upfront—about fatherhood, guardianship, violence, contempt, and neglect, at least semi-threaded throughout the action story, you’ve come to the wrong movie.

Gibney never quite finds Fela, and the quest isn’t always remarkable either, but such is the spirited brio of the seminal subject that some of his dynamic essence still shines through.

Greenland isn’t some self-insistently timely movie and it probably isn’t the movie we “need” right now. But it’s the movie we have, and its honest to goodness but unintended genre resonance makes it easy to embrace.

So much does not connect here and so much is designed to discomfit that there is unexpected resonance when Alverson lays aside the scabrousness and puts down oddball drollery to remind us that inside every lonely young man, there’s a shivering kid waiting to be picked up and brought in from the snow.

A deceptively dense piece of work filled with moments that articulate the complexity of the human condition.

Dazzling in form and a chase film at its heart, Ready Player One is exhilarating, but it also can’t sit still. Fitting to the content perhaps, the movie still arguably suffers from troublesome A.D.D. with its hyper fast cutting and its tendency to wander narratively.

With an enjoyable atmosphere, solid performances from Hawke, Travolta, Farmiga, and one gifted canine, In A Valley of Violence ends up a solid entry in a genre gradually fading from mainstream cinema.

Appropriately frosty and aloof, The Lodge is a meditative plumbing of the darkest parts of the human psyche, our vulnerabilities, and self-doubts and it’s these personal fears that resonate loudly.