Ultimately, The Takedown is a goofy retro buddy cop movie with decent action scenes at best. At its worst, it’s as awkward as the diversity and inclusion publicist following Ousmane around, desperate for a relevant quote.

To call it a difficult watch would be an understatement; it often feels, in its stark honesty, like a horror film.

It’s a history lesson you can dance to, and at times it’s an unexpectedly mournful and moving portrait of a city that has an intimate relationship with death and damage.

The follow-up to 2016’s “Doctor Strange” hits the ooh-and-aah marks we expect from a well-crafted Marvel adventure, but even with Sam Raimi at the helm, this entry goes heavy on the spectacle but light on the humanity.

Ultimately, FLINT is real-life American horror at its most devastating and disappointing, as it provides no indication that either hope or human decency can prevail.

While it may have started as a spellbinding evening of theater, what Raim’s unfussy, handsomely mounted documentary reinforces is that film is its own spiritually transporting medium, with its own risks and rewards, and its own ability to turn the enjoyment of art into — what else? — tradition!

“Pompo” reveals itself to be a film about why not every single thing you do as an artist is special, and how admitting that can lead to stronger, more efficient storytelling.

It is subversive, stomach-churning and visionary, a body-horror film that doubles as a fable of femininity gone wrong.

Unfortunately, the second half of Firebird is far less involving than the first.

Bourgeois-Tacquet’s script is loaded with witty bon mots and carefully-constructed insights.

Zax’s gentle, fly-on-the-wall perspective keeps us primarily in the present, reminding us that all we need is right there inside the shop.

The awkward transitions and clichéd merrymaking that define Lisa’s story will likewise be either more feature than bug for genre fans or just one more thing that makes Azuelos and Fierro’s narrative seem lazy and confused.

Memory often feels more like a direct-to-video threequel than an actual movie.

It’s particularly sad that viewers can’t spend more time in Casey’s world, since newcomer Cobb is this film’s greatest asset.

It was disingenuous of the filmmakers to use the phrase “A New Era”, because the film relies wholly on its viewers’ affection for characters and situations they have seen many times before.

Panahi and cinematographer Amin Jafari take familiar tropes of contemporary Iranian cinema and rework them with refreshing twists.

Given how much of the new material on Monroe is audio-based, one is left wondering why a project like this wouldn’t work better as a podcast. There is little that’s visually compelling about Cooper’s work, the type of investigation perhaps best listened to in the background of another activity.

Too many heartwarming comedies, especially those with mature leads, eventually expose themselves as cynical contrivances. The same could be said for some of the based-in-truth dramas that have started to feel inexorably churned out. In its affable sincerity, The Duke is both their opposite and their antidote, a feel-good entertainment for feel-bad times.

Charlotte may not take the utmost advantage of its material, but what it dares to tackle, it does so successfully, sadly, and memorably.

Marvelous and the Black Hole proves to be a small marvel of an indie gem and an assured debut for Tsang.

This sleepy and visually murky black-and-white drama belabors the same banal truisms about memory and role-playing during wartime –basically, it’s impossible to maintain your autonomy when you’re only a pawn in a complicated game — and tends to be more interesting to think about than to watch.

Ultimately the movie asks a lot of us, while simultaneously withholding too much. The concept remains compelling, but the execution both figuratively and literally falls flat.

Soberly shifting from war thriller to apocalyptic drama to oddly sentimental buddy film, “Onoda” bears the weight of its many filmic forefathers. But as it pulls off such moves with such quiet force, it also represents a different kind of emergence.

Anyone who’s sat through enough of those Christian films and watched them with a critical eye (and not for the mere indoctrination) can easily tell that the basic craftsmanship of Father Stu is on a different level. That doesn’t necessarily make this an admirable production, but at least it’s a proficient one.

The Northman is gory, muddy, hallucinatory — and intensely entertaining. An examination of the way that violence begets violence, and a study of how a life devoted to single-minded hatred and vengeance can lead to uncomfortable truths, this is a movie that lives up to every saga comic books and metal bands ever spun about the brutal conquerors of yore.

For the diehards and the curious, it should hold some intrigue, because in its exploration of pop longevity and band dynamics, it’s more a cousin of Metallica: Some Kind of Monster . . . than the typically image-conscious, preserve-the-legacy music doc.

As They Made Us is a very forgiving film about seemingly unforgivable pain, which is to say that it has been made with a lot of unconditional love.

It feels as though [Loznitsa] has wrangled an entire uprising’s personality into bite-sized pieces.