The patients, experts, and tireless doctors and activists who director Tracy Droz Tragos (“Rich Hill,” “Abortion: Stories Women Tell”) interviews are dedicated and admirable, but this documentary’s humanity comes at the expense of basic facts.

Swift and Wrench have done something truly special with the “Eras” film and that is making a colorful celebration of music and, unintentionally, cinema.

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

There is a scene in 'The Exorcist' where the soul of Regan MacNeil writes 'Help me' in her own flesh, begging someone to save her from an exploitative entity. I suspect if you look closely enough at Green’s film you can see the soul of 'The Exorcist' crying out the same way.

The film is an emotional rollercoaster bursting full of dynamic tensions, mind-bending twists and shattering truths. It’s the perfect combination of high marital drama and science fiction thinkpiece, and with the lengths the film goes to, Foe is a worthy addition to the emotional sci-fi canon.

A Still Small Voice is both universally relevant and as niche as a film can be; only those willing to descend into the depths of grief will seek it out, though it holds wisdom enough to apply to us all.

Greutert’s film brings back the core elements that made these movies work. It’s an uncomplicated, effective horror thriller, even though it’s trapped itself in the past with nowhere else to go.

The Creator instantly feels like a classic old-school sci-fi escapade delivering a thrillingly gorgeous ride, one that is immersive and handsome enough to hide the film’s escalating thematic dubiousness about artificial intelligence elsewhere.

The first thing you need to know about Expendables 4 is that its studio somehow made the grating decision to fashion its title as Expend4ble. It’s a needless spelling challenge for a dull and vulgar flick with a lot of empty-calories muscle, but little-to-no skill or fun to spare.

With Cousins’ wry thoughts on the films and some reflection of the meaning of it all, The Storms of Jeremy Thomas provides a colorful and entertaining canvas for some beautiful and beautifully set-up movie clips — you want to rush out and watch all of them again.

The film never fully commits itself to neo-noir beyond the plot.

In its happiest moments, The Movie Teller is glorious and yes, a little corny; in its darkest ones, it’s still lovely and sad.

The gender-driven power struggles in Widow Clicquot are in some ways the most conventional part of the film, which can soar in one moment and feel routine in the next.

There’s nothing flashy about the way these stories are assembled or told, but the cumulative power becomes overwhelming.

Things come to a head in a way that is simultaneously slapstick-y and touching, and entirely in keeping with a movie that has never lost its sense of charm through an hour and a half of twists and turns and engaging mountain escapades.

Mixing familiar stories with fresh insights, Zimny’s film is a portrait in restlessness, a picture of a man who has been both wildly successful and thoroughly dismissed — sometimes simultaneously.

Knox Goes Away is a character study of a disappearing character or maybe a thriller that stays away from actual thrills. However you label the film, it’s low key but satisfying.

Next Goal Wins is [Waititi's] best and most crowd-pleasing effort to date.

The movie leans into the melodrama, taking its time and milking the situation for all its worth.

Pain Hustlers entertains thanks to its strong leads but it’s hard not to find it a derivative look at a tough topic that relies on tropes from far superior movies.

The result is a wide-ranging dialogue that manages to be both philosophical and playful, a personal portrait that goes exactly as deep as Cornwell wants it to go but never feels as if the author is getting away with obfuscation.

It keeps the viewer at arm’s length from both the joys and aches of tweenhood, when all you crave is to get just a step closer.

This slight-but-winning confection will have little effect on the controversial director’s galvanizing public image but, after a string of stuffy disappointments, Coup de Chance will offer comfort to the filmmaker’s many completists – especially given Allen’s intimation that this 50th film might well be his last.

Although its internal logic and messaging are at times muddled and not fully formed, Dream Scenario still proves immensely entertaining.

Kendrick manages to make her film both weirdly entertaining and thoroughly disturbing.

There’s no real tonal conflict between the lightness of the comedy and the import of the issues it is addressing; American Fiction runs on serious conversations that are never bogged down by being treated too seriously.

Quiz Lady spends most of its time being loud, broad and silly. That’s sort of the point, but it can also wear thin when the second most heartwarming scene in the movie comes from Will Ferrell.

Gillespie’s snappy direction and Kirk Baxter’s nimble editing capture the chaotic and irreverent online culture without necessarily disrupting or distracting from the main stories.