In laying out the facts, Costa is, for the most part, posing a series of sad questions rather than supplying the answers; in truth, she may not know whether she’s documenting a stormy political era or chronicling the end of something.

The film doesn’t take an extra step towards cinematic showiness, nor does it glamorize or sensationalize Berg’s life. It’s just a nice time talking about World War II and baseball, sharing stories and retelling old jokes. It’s a respectable ode to Berg’s unusual, remarkable life.

Though Toni Morrison: The Pieces that I Am comes from a white storyteller, it distinctly and profoundly reflects the point of view of the subject herself. What we see is a woman who has always been in charge of her own narrative, no matter who wants to share it.

One of the year’s most thought-provoking and spellbinding releases, Our Time is calibrated for patience and observation with ideas as concrete as such an ambiguous storyteller like Reygadas can offer.

Ultimately, of course, it’s Buckley who makes Rose-Lynn soar off the screen. It’s a dazzling, raw, intoxicating performance, and when she sings, it’s simply electric.

The movie’s real showcase gold lies in the magnetic appeal of screwball comedy natural Erskine (Hulu’s “PEN15”); she’s a major talent who rightly runs away with the movie, conjuring in the viewer’s head a constellation of wishful star turns to come.

It will probably get the job done for casual jazz fans — after all, it features clips of some of the most incredible, enchanting and inspiring recordings ever made. Those already familiar with the genre may be disappointed to discover that it mostly sticks with the notes they know and very seldom ventures beyond.

Despite the script’s lack of character depth, Miller gives a consistently phenomenal performance.

It’s a fascinating story of endurance, shaky scientific methods, and solidarity that’s been given a thoughtful resurrection thanks to the writings of Genovés himself – acted in voiceover by “Zama” star Daniel Giménez Cacho – and the recollections of seven participants.

There is a tug-of-war here between [Bailey's] attempt to explore her characters in a very serious way with a consistent emotional basis and the demands of the material as written by Glen Lakin, which is clearly meant to be played as farce most of the time, particularly towards the end.

Pixar could easily retire this series with a clean sweep of films that have been lovely to look at and moving and funny to watch. But if they can maintain this level of wonderful, keep ‘em coming.

Though there is a comforting nostalgia from seeing the Shaft men stick it to the man while simultaneously holding on to their old-school alpha-male swagger, Junior’s presence adds a much needed reproach — and smartly comedic element — that ultimately doesn’t blame them but instead makes them take a hard look at the error of their ways in the face of justice.

It lacks ambition or depth, but it’s delicious and filling, proving (as if anyone still needed proof) that Tessa Thompson and Chris Hemsworth are two of the most likable movie stars in the galaxy.

This particular “Bob Dylan Story” proves that at least in terms of the tour, and possibly Dylan himself, what’s on the surface is plenty fascinating no matter how much or little you get at anything underneath.

The director translates the overwhelming concept of genocide into intimate, daily struggles, and the horror is indisputable, and inescapable; if you ever thought such a historical horror was “unthinkable,” you’ll think again.

A witty, intelligent, and entertaining view behind the scenes of a late-night talk show.

Well-intentioned but at times insensitive, Papi Chulo is a complicated movie. It wants so badly to do the right thing when the situation is all wrong.

It’s just a disappointingly average superhero flick, with a familiar story, disinterested actors, some cool action sequences, and a whole lot of missed opportunities.

A compact and fairly well-made documentary.

Because Graham fills This One’s for the Ladies with so many different dialogues that don’t always connect, he prevents it from offering concise, sociopolitical insight about race, class, and sexuality. As a result, the film comes off as pedestrian and ultimately has nothing really essential to say.

Howard’s film is a love letter to the icon, but ultimately Pavarotti is a more of a celebration of the individual behind that façade and a reminder that it’s as much his humanity as his talent that made him a star.

A masterful, cinematic biography that unpacks a man’s life through his work, showing us an uncompromising and difficult man who apparently wouldn’t have had it any other way.

Ultimately, the filmmakers’ intention isn’t to throw us off but to invite us in, to encourage us to wonder: Is it really so strange for one woman to have two reactions to life?

The mix is for the most part a welcome one, save one unappealing character, a retrograde love story, and an air that’s almost too blasé for its own good.

Domino offers a sloppy screenplay with underdeveloped characters and a half-written plot, pumped full of racist, fear-mongering, one-dimensional villainy. Only the most diehard De Palma fans will find anything to intrigue them, and they’re going to have to sift through a lot of boring junk to find it.

The craft is meticulous and the level of detail elaborate, but the story itself is simple as can be.

Attempts to be a psychological campy thriller but gets so lost in trying to construct a message that all the exaggerated thrills die before even lifting off.

Yes, Godzilla: King of the Monsters is ultimately a Saturday matinee writ large, but that’s nothing to sneeze fire at; countless big, expensive action movies fail at making their way into a viewer’s pleasure center, but this one knows exactly how to be, in the truest sense of the word, sensational.