It’s as if Reybaud wants to put in every scene and character he has ever thought of in one film, and so his two main characters get lost.

A procedural is never just about the case, even as the inquiry barrels along. To his credit, Moll ably recognizes as much, making his procedural a fine example of the form.

As the story of a mother and daughter, Miss Juneteenth benefits from subtle, offhand performances from Beharie and Chikaeze; as a portrait of a community, it’s layered and rich. Not a lot happens, really, but in its modesty the story packs a lovely punch.

For all its brittle hilarity, Potter has shot her film in black and white. In context, it plays as an avatar of artistic seriousness. Or a warning with implications worth heeding.

The Iron Claw devastates.

Arriving at a time when conversations once reserved for academics have filtered into popular culture, “Who We Are” never plays like the product of some Hollywood bandwagon effort. Instead, its existence speaks to the power of cinema to reflect the times by sparking conversations and changing minds.

Mirren, as ever, is both polite and brusque, her petite va-va-voomness never undermining her credibility as a tough military top-ranker. And Rickman — oh, that dryly sarcastic voice.

Frantz too often belabors the obvious and ultimately blunts its own message.

Awkward at times and affecting at others, Val doesn’t come across as a story about acting – instead, it’s a pretty straightforward tour through Kilmer’s career with lots of mostly mild anecdotes along the way.

It picks four cases that give a good overview of the ACLU’s work and all carry huge stakes; it follows lawyers who are articulate and interesting guides through the issues; and it gives each of the cases enough time to play out and also add up to a rich portrait of a complex organization

What’s perhaps most miraculous about this tight and taut film is Domont’s unforgiving economy.

This humanistic tale, helmed by a masterful filmmaker, offers a potent — and yes, inspirational — story of triumph against huge odds.

Kelsey Mann was able to expand on what seemed like a complete story in the original film and tell a new and potent one, and that’s impressive and commendable even though — like many Pixar films — it falls apart in the details.

The Fall Guy feels like an entire feature of scattered ideas that have been done better elsewhere.

Creed III may not have the pure, unadulterated power of the original “Rocky” or the original “Creed” but it’s a worthy follow-up that takes chances and makes the most of them. It’s a sharply produced and emotionally raw film, anchored by exciting performances and impressive writing.

The story’s playful, subversive reinterpretation of 'The Wizard of Oz' as a work of propaganda, designed to obfuscate the true story of how political dissidents and minority groups are demonized by fascist con artists who trade in theatricality instead of competence, is fully developed and still (to our collective dismay) incredibly salient.

A compact and fairly well-made documentary.

The Biggest Little Farm is a decent personal narrative film — even inspiring at times — but it could have provided a much-needed educational view and a deeper look at the importance of California’s essential agricultural life.

Hoffman doesn't get a lot of flashy, awards-show-clip moments, but he's all the more engrossing for underplaying and revealing volumes with the slightest of reactions and inflections.

Not Going Quietly credibly highlights the “moral stakes” of Barkan’s cause, as one of his colleague says, with a welcome mix of candor and artful consideration.

An elegant chamber piece that deals with big issues – life, death, family, guilt, grief – in a beautifully austere way, Coming Home Again rarely raises its voice, but it cuts deeply.

With its chilly, atmospheric and convincing story, Wind River has the feel of a richly immersive novel. It’s not perfect.... But the mood is tense, the characters are well-drawn and director-screenwriter Taylor Sheridan has crafted some of the best dialogue of any movie this year.

The banter in Convery’s script is entertaining, but it’s truly the actors under Affleck’s excellent direction that makes Air feel like something special. It doesn’t nail every scene or sentiment; but when the film is good (which is often), it’s on fire.

"Hit Me Hard and Soft" offers a fiercely personal — and uncommonly charming — look at the relationship that develops between a fan base and an artist whose music doesn’t just express their thoughts or share their sentiments, but makes them feel truly seen.

How are the action sequences? They’re fun until they feel familiar, and even then they’re still a trip because the long takes demand admiration for the sheer brute exertion at work.

Honoré’s deliberately paced, willfully unsentimental character study is like the yin to the yang of last year’s Cannes Grand Prize winner, “BPM.” Whereas Robin Campillo’s ACT-UP drama argued that the personal was political, and did so with lightning-bolt urgency, Honoré’s film is a more subdued rumination on community and connection.

There are moments in Sunset Song that rank with Davies’ most poignant.

In the documentary Free Chol Soo Lee, first-time doc directors Julie Ha and Eugene Yi use archival materials in an attempt to present their tragic hero in all three dimensions. Despite their efforts, Soo Lee feels just out of reach, but the story of his life remains as important as it is horrifying.