Aside from exploring the housing crisis benefiting developers and startups, “Last Black Man” hones in on male friendship from the standpoint of two young guys whose fraternal bond surpasses any need for the posturing associated with toxic masculinity.

To tell someone else’s life story — especially when it’s being told with such brutal honesty — is impressive. To do so with with warmth, intellect, and vulnerability is a Herculean feat.

The film makes a good case for [Cohn's] legacy being entirely negative, leading to today’s cutthroat, divisive and lie-packed politics. But it also, crucially, makes a case for Cohn being a fascinating subject, a bundle of contradictions in a slick and soulless package.

As much as the film celebrates his creativity and gazes unflinchingly at his failings, it also functions as a valedictory, almost a requiem of sorts. Think of it as the film version of the final albums made by Leonard Cohen and David Bowie, who made wrenching final statements that they likely knew would be their last.

Klayman, an increasingly skilled observer as a documentarian, occasionally succumbs to her own curiosity, or maybe incredulity, to ask him a question about these comments, or positions, but mostly, her quiet, unobtrusive gaze exposes his flaws without requiring interjection.

“Extremely Wicked” winds up a thought-provoking piece of cinema that avoids the easy temptation of shock value in favor of a more philosophical take on a diabolical murderer.

Blinded by the Light is corny, silly, as overblown as one of Springsteen’s grandest anthems and damn near irresistible.

Miller is after immediacy, not reflection or explanation.

On the whole After the Wedding is a touching journey through a world where even those with the best intentions leave some wreckage behind, and where forward motion only comes with hard looks into the past.

The film is stuffed with so many plot strands and so many different genres (sports movie, YA rebellion movie, bounty-hunter movie) that it never gets moving.

Arctic has the do-or-die chops to affirm Mikkelsen’s rugged allure, as well as its young filmmaker’s sensitive-showman promise.

What this new version forgets, to its detriment, is that Gloria’s strength doesn’t come from finally holding the gun; it comes from being a survivor.

This sophomore effort from the filmmaker behind the gripping horror offering “The Eyes of My Mother” is as much an interesting subversion of how sex workers have been depicted in film as it is an off-putting erotic drama that falls apart at the seams.

It’s overly ambitious, it has too many characters, and it tries to do too much. But there is also a lot here that feels fresh and original, particularly in the first half, which takes in a lot of new territory — both thematic and geographic — with a pleasing light touch.

Yes, it’s a wrestling movie, but Fighting With My Family is also a delightful entry into a genre that has too few inspiring stories for young girls. It’s a warm-hearted underdog saga with a feminist undertone and a celebration of everyone’s inner misfit.

Inventively, Gilroy utilizes exaggerated horror tropes to take to task our cynical thoughts about artistic creation. His sharp Velvet Buzzsaw is an exquisitely diabolical exposé on the merciless materialistic ambitions that run rampant in cultural fields.

While director Hans Petter Moland’s remake of his own film “In Order of Disappearance” (Frank Baldwin adapts the original screenplay by Kim Fupz Aakeson) may fall short of its goals, it’s hard not to admire the film’s ambitions — and certain scenes, performances and even one-liners — even as its flaws start piling up.

There is tons of game in this fleet, fast-paced modern sports story, which entertainingly substitutes lived-in wisdom for expert dribbling, skillful gambits for clever passing, and witty dialogue for points-racking shots.

The LEGO Movie 2: The Second Part is a delightful all-ages adventure with the potential to reach even the most cynical and weary of us.

Despite the film’s few imperfections, it’s still enjoyable to watch the cast of older actors refuse to age out of a young man’s genre.

Tito and the Birds is extraordinary proof that universality comes from specificity. Sometimes there is nothing more globally relevant than a hand-crafted Portuguese-language animated indie.

Serenity is a twist in search of a movie, a film noir in search of a purpose, and a great cast in search of better material.

The Invisibles is a powerful testament to the remarkable courage of those forced into heroism, and to the exceptional strength of those who chose it freely.

There is truth in this story, even if the ending becomes unwieldy.

The Kid Who Would Be King is a charming story of fantasy, pop-culture references and myth-making. It’s a movie with the playful camaraderie of “Goonies” and a few elements from ’80s sagas — like “Labyrinth,” “E.T.: The Extra-Terrestrial,” “The NeverEnding Story” and “Legend” — where young people go on character-building adventures.

The chief distinction of Replicas is how detached it often is from the expected sense of words and images.

Putting a dog in crisis might seem like an easy way to create a great story, but in a family film, featuring a helpless canine in constant peril plays as emotionally manipulative and, frankly, slightly traumatizing. A Dog’s Way Home is a joyless jaunt that offers an adorable canine star and not much else.

Performances aside, Glass is a pretty mixed bag of exposition-filled dull moments and pedantic dialogue.