In the documentary Free Chol Soo Lee, first-time doc directors Julie Ha and Eugene Yi use archival materials in an attempt to present their tragic hero in all three dimensions. Despite their efforts, Soo Lee feels just out of reach, but the story of his life remains as important as it is horrifying.

Rogue Agent is plenty fascinated by the abridged version of this saga — bad men are out there — but you’ll wish for that darker, less cleanly shaped telling the more you think about its scarier contours.

For all its telling — and showing — of sex, Bloom Up never really gets going until its final few minutes. And that late-stage twist occurs during the rare scene in which everyone is fully clothed.

In 95 minutes, Ford unfurls a gritty and suspenseful L.A. noir that also serves to examine the structural issues that uphold wealth inequality in this country. But Emily the Criminal isn’t trying to be preachy or political, it’s just authentic, and urgent, and Plaza’s performance keeps the emotional and physical honesty at the forefront.

James Ponsoldt (“The Spectacular Now”) keeps his film permanently trapped in a liminal space between childhood and adolescence, where magic is real but intangible and largely metaphoric.

Girl Picture is a thoughtful, funny, and empathetic look at lives in flux.

Day Shift doesn’t offer much in the way of surprises, but audiences whose taste runs to horror comedies that are heavy on action and light on plot may enjoy sinking their teeth into this one.

While this new “Dragon Ball” spinoff may not be all things to all viewers, it’s also a thrilling showcase for Toriyama’s beloved characters.

Mack & Rita is silly, but it’s a strong, necessary kind of silly, a warm and embracing kind of silly. Keaton has rarely been so bubbling and bright, reminding us that regardless of age, being true to yourself is all that really counts in a person. The love will come no matter what.

This may be the first movie to apply the Chekhov’s gun rule to vultures, a portent sure to satisfy the more horror-minded ticket buyers, not to mention anyone else eager for the kind of back-to-basics survival excitement “Fall” refreshingly serves up in this dreary age of apocalyptic popcorn emptiness.

Aside from how unnecessary remakes tend to be, what’s imperative is to consider whether a story with such a simplistically offensive depiction of disability as an enchanting characteristic can have a place in today’s world, as we collectively try to move away from unchallenged amusement that thinks it’s uplifting even as it punches down.

Whether you laugh with I Love My Dad or never shake the queasy feeling in your stomach, Morosini’s film is remarkably sensitive and eerily confessional.

Through copious clips of studio work and bittersweet interviews with Vinton, his former colleagues, and his family members, we get a sense of both his strengths and weaknesses.

Hints of Koy’s stage charm burst through occasionally in Easter Sunday — mostly because he’s also playing a comedian trying to hit the big time, so stand-up-like bits are built in (or crammed in) — but as directed by Jay Chandrasekhar (“Super Troopers”), who also has a small role as an agent, this feature opportunity is a woefully run-of-the-mill, laugh-challenged attempt to translate Koy’s comedy to the big screen.

There’s an inherent push and pull to Bodies Bodies Bodies, a movie that wants to be a send-up for a certain type of young person but also doesn’t want to be “about” much of anything. The horror genre has fallen victim to Big Important Theme–ism of late, and it’s a relief that “Bodies Bodies Bodies” doesn’t descend into a lecture (in fact, it descends into many funny, insincere ones instead). But it all doesn’t amount to very much at all.

The film’s best scenes are, in a way, the flip side to its weaker ones: the closeness between Castro and her subjects lessens their objectivity but strengthens their intimacy.

Prey is a glorious monster flick, a sly revisionist Western and a really cool “Predator” sequel for viewers who don’t mind a little fan service here and there.

Despite having an emotional arc that becomes evident within its first few minutes, Luck registers as original enough conceptually to maintain one’s interest as we follow the formulaic structure of its screenplay. The resulting fable feels like a typical case of “you’ve definitely seen this before, but not precisely in this manner.”

Logan is more interested in psychological horror than in the typical slice-and-dice of slasher movies, and in several scenes here he achieves a remarkable intensity.

All Bullet Train had to be was high-gloss, all-star, late-summer nonsense, but instead it gives high-gloss, all-star, late-summer nonsense a bad name.

Though the religious component is written broadly, the impact is hardly more surreal than many elements of 21st-century reality.

While not as anarchic or outrageously hilarious as “Teen Titans GO! to the Movies,” this latest all-ages animated adventure from DC Comics and Warner Bros. nonetheless has — and offers — lots of fun with the four-legged counterparts of a Justice League that’s more “Super Friends” than Snyder Cut.

Although it’s extremely competent, it fails to add a new perspective to the story, or a distinctive approach to its telling.

Director Jono McLeod’s filmmaking itself is inventive and odd, and that’s almost enough – emphasis on the word almost – to make up for the fact that the story itself is something of a letdown.

Without a commitment to its tone, How To Please A Woman might help its titular woman, but it leaves its audience quite dissatisfied.

Big swings can make for big misses, and that’s the situation writer-director Quinn Shephard’s internet satire-screed “Not Okay” finds itself in, lining up all kinds of juicy targets regarding fame and shame in our social media age, but proving not so discerning about character, humor, and story when it comes to following-through.

This ultimately feels like four very promising movies mashed together, with spectacular highlights bumping into each other in a way that’s ultimately lacking, even as they all demonstrate the prowess and bravado of the filmmaker.

That the filmmakers manage to address so much of such a complicated life in just over 90 minutes speaks highly to their effectiveness, vision and economy.