Detroit has a vital sense of authenticity, rooted as it is in history, conveyed via Bigelow’s meticulously crafted cinema vérité style that, essentially, thrusts the viewer into the tense events. She is an expert at managing suspense and deftly blending sensitivity with a journalistic sense of details.

Whether or not the “Wolverine” movies have a future — Jackman swears this is his last go-round — Logan is an exceedingly entertaining one.

The fight for equality rages on, but historical snapshots like Nationtime remind us of both the long road to justice and the hard work that goes into paving the way.

The filmmakers haven’t redefined the zombie genre, but they’ve refocused their own culturally significant riff into a lush, fascinating epic that has way more to say about being human than it does about (re-)killing the dead.

What ultimately works most profoundly for the film is that its intimacy, its specificity, feels less like the culmination of Joan’s life experiences and more like an epiphany, or maybe an origin story, for what’s yet to come from her.

If there isn't enough to feel, at least there's a lot to look at. Thanks to the superb 3-D direction by DeBlois, we swoop through the air, whoosh down dragons’ tails, and juuust baaaarely squeeze into small crevices, but still, those experiences are only like being on a really great rollercoaster — they don't mean anything.

Though Dheepan is another triumph for Audiard, it could have just as easily not worked had its leads not been so affecting

Think of Promare as a vast feast with too many flavorful offerings to taste in one seating, and where all the intricate details of how everything was put where it is are less important than the overall sensory overload you’ll experience.

Aside from the undercurrent of pathos, it’s James Franco’s impeccable comedic timing that is the film’s ace in the hole.

Many of Herzog’s recent documentaries have been produced under the aegis of TV channels, and “Lo and Behold” often feels like a miniseries compressed into feature form. Its segments broaden an understanding of the internet’s impact, but they don’t meaningfully interact with each other.

An audacious film that completely obliterates the expectations of the musical biopic genre.

Playing like variations on a theme, Jarmusch’s shaggy-dog triptych affably loops through moments of awkwardness and family strain, finding fresh notes in the repetition.

Leon’s New York has plenty of uncertainty, but it hums with possibility, especially the notion that if you miss one connection, another one’s right around the corner. In that respect, Tramps is beautifully breathless.

Like any artist, Miller has the right to reinvent herself, but we don’t need one more director of winsome, Sundance-ready rom-coms. That said, as winsome, Sundance-ready rom-coms go, Maggie’s Plan is a pretty winning one.

Both everything and nothing happens in Filipiñana, the cutting, confident, and ultimately formally captivating feature debut from writer-director Rafael Manuel.

The men are slightly forgettable, but the woman is not. Far from the flawless fembot in “Ex Machina,” Vikander’s slight gawkiness is highlighted here, allowing her to look like a real girl, absolutely the right decision by Kent.

Every subject shares genuine enthusiasm after watching Guy-Blaché’s work, and as messy as “Be Natural” can be at times, with that frenetic pace of info delivery coming from all directions at once, it’s actually the natural tone and pace of a creator who’s excited by their subject matter.

It features a striking lead performance, but it ultimately leaves the viewer unmoved, and possibly confounded.

Murphy’s resplendent turn anchors a true if predictably told story of showbiz aspirations and can-do spirit, but in the great whoosh of majestically profane, beaming energy he provides from beginning to end, it’s clear that his brand of electrifying, in-the-moment comedy has sorely been missed.

Unlike the stiff-jawed heroics of the other Marvel films, this feels a little looser and lighter, with Pratt as charming, amoral accidental leader Peter Quill, an earthling among the stars who, as he will tell you, is also known as the roving brigand “Starlord.”

Ultimately, Corsage is a deeply sympathetic portrait of Elisabeth, enhanced by Krieps’ delightful performance.

The Blind Man Who Did Not Want to See Titanic brings up the continued need for disabled directors and screenwriters. There’s certainly enough charm to spare from the film’s leads, but the storytelling too often relies on disabled people in peril and other tropes that simply regurgitate what we’ve seen.

If the end result is less a comprehensive biography than a long overdue and entirely deserved tribute, it is, nevertheless, truly terrific.

While Red Rocket very ably explores the headspace and mechanisms of the 100% beef-fed all-American huckster, it loses a step or two when it does so as a kind of morality tale assessing the damage and human toll Mikey leaves in his wake.

Their Finest delivers in a way that would please the Ministry of Information: it’s rousing and emotional, there are laughs and tears, and it portrays people trying and, mostly, succeeding at being their best selves in the service of their country.

The White Tiger illustrates the extremes to which the poor are driven to violate the rigid class structure of India, with the implication that our hero and his methodology is perhaps the face of post-superpower capitalism itself.

Lovell’s intimate connection to the subject forms the basis of the film’s power, which rests on a palpable pride in sisterhood.

Both Kai and Lasker-Wallfisch’s daughter, Maya, encourage the reluctant Hans Jürgen, now a frail 87-year-old man, to confront his family’s complicity. As they push and he resists, the process is unsettling and unsatisfying for everyone. But somehow it unfolds that Anita, an extraordinary character and the film’s true heart, sees Hans Jürgen most clearly.