Teen Titans GO! to the Movies never wears out its welcome, from the hilarious skewering of some of DC’s most sacred cows (Kryptonite, Crime Alley) to a range of musical numbers that include an 80s-style you-can-do-it anthem (compete with sax solo) and hip-hop-flavored self-aggrandizement.

This is Tom Hardy‘s show, and any opportunity to see this actor exercise his skills merits attention. He, along with the rest of this top-notch ensemble, give “The Drop” far more than they get back.

Time and again, Stewart clams up or shuts down when she’d prodded on sensitive subjects; you get the feeling she’s humoring her filmographer with only slightly more restraint than she might show to a kitchen helper who uses the wrong knife to cut an orange.

Fahrenheit 11/9 grows slowly from an exhausting movie that is all over the map to a rousing one that makes a call to arms in troubled times.

While some viewers may find the use of the closet and societal homophobia too heavy for this breezy story, there’s a case to be made that including specifically queer concerns into the language of romantic comedy is another step toward genuine inclusiveness.

Henson and Howard are a fine match, and the sort of film you’d expect Ron Howard to make – straightforward, skillful, honest and sympathetic – is pretty much the kind of movie you’d want about Jim Henson.

Much like the UCLA interviews that inspired it, Framing Agnes is a vital part of the historical record, addressing trans life as we know it right now and providing deeper understanding for current and future viewers.

What The Outfit doesn’t generate much of is organic suspense. With an air of duplicitousness telegraphed early on, and a handful of scenes coming off like information dumps instead of natural exchanges, many of the story mechanics strain for believability.

Avoiding the sophomore slump, Raiff’s delightfully sigh-worthy Cha Char Real Smooth is the type of sincere enterprise that could easily be spoiled with hackneyed platitudes or simplistically rose-colored plot points, yet here it sings with a wondrous candor and an unforced dramatic rhythm that turns it mightily irresistible.

There’s nothing particularly world-shaking about Our Souls at Night, but it’s a nice movie about nice people finding love.

It’s impossible to remain unmoved by the many contrasts Abbasi carefully arranges.

Though his slim script (co-written with Chris Smith) holds few surprises, Angarano’s direction is consistently confident. He paces this minor tale wisely, getting in and out of the characters’ small stories in a perfectly-timed 84 minutes.

As befits its subjects, Marianne & Leonard is as much poetry as documentary — it’s a gentle, rhapsodic film, an emotional change of pace for its director and a moving portrait of a love that still resonates.

The Elephant Queen may not suit every adult viewers’ taste, but it is exceptionally sensitive and consistently thoughtful, especially when it’s concerned with the sorts of facts of life of which younger kids are probably already vaguely aware.

There are about two minutes in 'Carry-On' that are as exciting as any other action movie this year, and about 100 minutes that are pretty fun too.

It’s not groundbreaking cinema, but Do Not Resist effectively begins (and furthers) this ongoing conversation about the escalating police state, racial profiling, and beyond.

Gerbase shows talent here, but viewing The Pink Cloud requires nerves of steel that might not be available to even the strongest among us at this particular point in time.

As a representative display of historical-but-reimagined players on well-worn ground, The Harder They Fall has undeniable pop, but as a movie needing character, narrative, and pacing beyond revitalized nostalgia, it’s all too often a bloody, showy mishmash that rarely holds its clichés and archetypes together with any lasting resonance.

This episode cuts right to the core of the series’s original appeal, giving the terrific cast a chance to play against one another in a straightforward story. It’s not exactly bold, but “Beyond” does satisfy.

When an infidel makes a film about traveling to an Islamic country that doesn’t accept his way of life, you expect a little more tension.

Though the documentary’s early musings about athletic integrity in general are ultimately usurped by a tale of personal responsibility and nefarious global power, the disruption feels acute and essential.

Mo’s story feels rare, relevant and real. But we’re stuck on the outside looking in.

Despite its plot contrivances, the dramatic arc of Mutt delivers a changed individual on the other side of its many tribulations.

"Art Addict” may be encyclopedic, but it’s all-too-rarely insightful.

Whereas Meera Menon’s film portrays the pitfalls that often await women who work in a predominantly male business, it’s also overcharged with so much grrrl power that it could blackout an entire Wall Street block.

An easy-going film that coolly ambles forward as a series of short sketches and vignettes, while maintaining a fairly detached tone.

A curious little meditation on the extent to which humans will go to make connections, and on the commodification of everything up to and including love, it is a fascinating film that will never be confused with one of Herzog’s major works. But it nonetheless has moments of subtle and quintessentially Herzogian rhapsody.

What comes through loud and clear in “My Mind & Me” is Gomez using the film to declare her priorities, and her carefully controlled revelations are a chance to write her own story.