The work is emotionally instructive but thematically unfocused. Despite having a fascinating story to tell and some illuminating subjects, American Factory comes off as slightly over-zealous, educationally speaking, and is without a manageable sense of moral edification as an observational documentary.

Aquarela is truly a theatrical experience that benefits from the dark, distraction-free nature of the theater, in which the cycles of water, from frozen lakes to hurricanes, becomes an all-consuming force.

At its heart, the film tells an incredibly touching – and altogether unexpected – human story. Entertaining and educational in equal parts, Simó’s animated film is one you don’t want to skip.

Try as the filmmakers do to conjure a restorative kind of magic in its searching, yearning storyline of renewal, they are not able to come up with much more than a limping comedy about a woman with all-too-easily-explained mental issues.

Angry Birds Movie 2 fills the screen with flashy characters, appealing set pieces and a voice cast filled with lively voices.

Similar to the cringeworthy performance art that wraps itself around the core of the film, This Is Not Berlin is emotionally hollow, more than a bit confused, and regrettably forgettable.

Because we’re living in the worst timeline, these actors and concept are wasted in a movie that lacks spark, flavor, spice, and generally anything that generates or even resembles substantive heat.

Overall, despite a few profound explosions of emotion, the remake is more tonally overbearing than it is dramatically rewarding.

Shadyac’s movie may ask difficult questions about the ills that society grapples with today, but it tackles them in a shallow, facile, sometimes uncomfortably out of touch manner.

Love, Antosha isn’t revelatory in its treatment of Yelchin’s life and career but it profoundly serves as a reminder of just how talented he was, and further reinforces the fact that he was just beginning to burgeon as a creative force.

Tel Aviv on Fire is a summer gem unlike any other you will see this year–an invitation to laugh at a world in decline.

Possibly led by nobler intentions, the Israeli writer-director ends up cashing in on the mettle of those involved in a bold rescue mission, tweaking a terrifying reality until it resembles little more than a banal thriller.

Making the plunge into full-on Saturday Morning cartoon territory with its ludicrous over-the-top-ness, Hobbs & Shaw is a quippy, explosively kick-ass, utterly preposterous buddy romp that injects some much-needed nitrous oxide into an otherwise stale summer movie season.

Similar to RGB, Raise Hell preaches to the small choir that adored Ivins, but this documentary sings a beautiful new psalm that will reach new disciples and renew the follower faith like a tent revival.

With the bar for breakout genre flicks being set so high in recent years, one can’t help but feel that Radio Silence is capable of something more substantial and memorable in its craft. Like most of Grace and Alex’s wedding gifts, Ready or Not is certainly diverting but hardly essential.

This is often an insightful film, but it’s full of delights for journalism, history, and political junkies alike. It doesn’t fully answer the challenging problem of where the line between the two needs to be, but at least it’s asking the right question.

The problem is Estes’ script. There are some real clunkers twisting around in the dialogue, and this viewer was way ahead of its big twists (and I never figure out big twists).

The film’s title isn’t just referring to the past, but what everyone involved witnesses in their communities everyday. By letting this fester and not confronting it dead on are we not saying we’re fine with being “barbarians’? It’s a credible question the filmmaker leaves you to ponder in private.

It’s a sign of how quickly it feels like the world is being torn apart around us that even a ripped-from-the-headlines documentary, such as Karim Amer and Jehane Noujaim’s The Great Hack, can feel almost dated.

Tiny is a sobering contemplation on flaws, forgiveness, and redemption that deserves to be recognized.

Into the Ashes could have been a better film if only Harvey was less interested in making a by-the-numbers revenge exercise.

Berman ultimately turns his incredible meta-story into an ode to documentary filmmaking. And its exhilarating stuff because you have absolutely no clue where this movie is going to take you next. Berman’s doc keeps pulling the rug from under you, and it’s a high-wire act of reinvention that rewards the viewer at every step.

Some movies aim for lofty vulgarities; this one aims low and hits all the marks. ... The result is tone deaf, dated, never sexy nor funny enough to grab our interest. What could have been good fun becomes a perpetual drag of jaw-dropping crudities and cringe-inducing antics that were seemingly written and directed by a horny teenage boy with no sense of taste.

It’s a compelling watch to be sure, this nearly unhinged desire to democratize the access to art, and ultimately an offer that’s too hard to resist.

Without a marriage of inspired storytelling, straight up regurgitation doesn’t elevate new tech. Also, thinking about could and should, one needs to consider good taste, but that’s clearly not driving any of the decisions here.

A comedy that’s really quite hyper-violent, a little nasty in tone, and never as funny as it should be. [SXSW work-in-progress review]

It takes a huge leap of faith to go along for the ride, but Boyle’s impassioned, viscerally paced, and well-directed movie is so heartfelt, even the biggest pessimist will likely begrudgingly warm to it, flaws, and off-key notes and all.

Ultimately, Spider-Man Far From Home turns all its intelligent themes into a triumphant story of self-belief for Peter Parker.