If Atkinson’s presentation is just a hair above “competent,” it does the job of exposing the corroded heart of American policing.

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

This adaptation of Ransom Riggs’ children’s-lit novel offers up merely serviceable studio spectacle, minus any of Burton’s former malevolent mad-genius spirit.

It’s hard to resist the joy of the film, the unbridled heart, and Ove’s tremendous, hilarious hatred for all the idiots of the world.

The overwhelming force of The 13th is such that as the movie moves into its third act it becomes more and more heartbreaking in all its countless examples of injustice and abuse.

By pointing their camera at the Red Mosque, Trivedi and Naqvi add surprisingly little to the conversation.

For all the moments of visual flair and earnest fun, it’s a film so indebted to Anderson (among obvious others) that it never manages to become something of its own.

‘Jane Doe’ never aspires beyond the ordinary, and more crucially even fails to meet that modest standard. Lifeless and lackluster, ‘Jane Doe’ never draws blood.

It’s intense as hell, and a supreme example of how the morally repugnant can be made to look weirdly beautiful.

While it’s tricky to pin down exactly what Trespass Against Us means to be, it’s easy to enjoy what it actually is.

Likable, heartfelt and sweet in all the right places, Stoller and co-director Doug Sweetland have put together a charming surprise that’s as joyful and friendly as it is funny and well-meaning.

My Blind Brother is mirthless, though Kroll and Slate have a delightfully easy charm that occasionally rises above the tedium.

If it came out in the ’90s, I.T. would have been a silly distraction. In this day and age, it’s a colossal waste of time, a 14K dial-up in the time of fiber optic.

More than anything else the film becomes a celebration of these two lives and the era of music that both created and destroyed them.

Zlotowski has turned in a beguiling film that impresses as much for its oddly specific and well-researched setting (the ragtag community of lower-grade workers at a nuclear power plant), as for the romance, and maintains impressive narrative and tonal control right up until an ending that falters just at the final hurdle.

Rather than use his trademark raw style to expose and eviscerate social injustice, here Escalante puts it in service of a kind of cautionary fable about both the healing power of sex and the harming power of sexual hypocrisy, and he uses a tentacled alien to do it.

The charming, rousing WWII romance Their Finest is a film that openly stumps for two causes: the value of women in the workplace, and the power of cinema to tell stories that people need to hear.

The Secret Scripture is a film with a lot to say, which struggles with the best way to say it.

The picture is genuinely entertaining and moving, but the fact it even exists in the first place is something you simply cannot dismiss.

Didactic yet generic, The Promise endeavors to educate about a period of recent history that is still unacknowledged by the Turkish government, but curiously manages to be anonymous in form nonetheless.

To her credit, Zlotowski’s film does capture the lulling feeling of a séance, but there’s a gossamer-thin thread between the mysterious and the mystifying and perhaps her delicately ephemeral film just doesn’t know how to recognize the difference.

Wildly bizarre and imaginatively alluring, if not occasionally slight, the animated movie, My Entire High School Sinking Into the Sea, is an engaging surrealist take on the disaster movie.

Guest isn’t fixing what isn’t broke, but after so long between movies, and with many more people tackling the style, it does leave Mascots at times feeling a bit overfamiliar.

Underneath the dark humor and holistic mise en scène, there remains the nagging suspicion that what is onscreen is — in spite of the film’s best intentions — another patriarchal interpretation of Lady Macbeth.

As aesthetically dazzling as this picture is, with hypnotic compositions carved through meticulous mise-en-scene, there are certain conventional lines which — when crossed — must warrant good reason. In this case, the activity on the screen must be immersive and interesting enough to balance out the physical endurance asked of the viewer by the creator.

What’s most disturbing is Jackson’s pedestrian direction has resulted in a film that barely recognizes how powerful this is in contemporary society.

In substance, it might be Vigalondo’s most ambitious film to date. And while there’s a sense at times of his uncertainty in fully committing to the ideas on the page, in the moments when the conceptual component of “Colossal” is fully embraced, the results are truly chilling.

This “emotionally immature braniac” character is funny and heartbreaking in equal measure. Carrie Pilby is special. “Carrie Pilby” is less so.