The gadgetry is absolutely dazzling, the action is mostly exhilarating, the comedy is scintillating and the whole enormous enterprise, spawned by Marvel comics, throbs with dramatic energy because the man inside the shiny red robotic rig is a daring choice for an action hero, and an inspired one.

News management is the main issue. Control Room shows how coverage is tailored to fit the audience, both by al-Jazeera and its Western counterparts.

You don't have to be a fan of Mr. Jarmusch's special brand of indie spookiness to enjoy his new film. All that's required is patience with its languorous pace, plus a willingness to swing between amusement and delight, with periodic pauses at ennui.

The deliriously talented Lake Bell wrote, produced, directed and stars in this peculiar bit of comedy magic, set amid the cutthroat world of Hollywood voiceover artists.

At its best, Ava DuVernay’s biographical film honors Dr. King’s legacy by dramatizing the racist brutality that spurred him and his colleagues to action. The director and her screenwriter, Paul Webb, are less successful — sometimes much less so — at breathing life into the private moments that define King as an inspirational figure with human flaws, and a political as well as spiritual force.

At its best, “Furiosa” is like a more fun, less ponderous and mysticism-free “Dune,” with every pedal properly to the metal. But it’s closer to numbing than enthralling, like a long ride with no shock absorbers.

Ms. Garner transcends the inherent limits of her role to convey ineffable tenderness and wordless ferocity in a movie that’s bigger than it seems.

The film forges ahead, in vivid 3-D, with such energy, expertise and thunderous conviction that you readily accept its basic premise — the pell-mell emergence of great intelligence, plus moral awareness, in primitive bodies — and find yourself exactly where the filmmakers want you to be, swinging giddily between sympathy for the apes and the humans in what threatens to become all-out war.

Computer travel may not be the real thing, but IMAX makes this an astonishing trip all the same.

A stunning drama that's distinguished by a magnificent performance; the most powerful scenes are those that play, as recollection or confession, on Lena Endre's lovely face.

The lean, athletic Mr. Herzog, 83 years old, seems as spry and eager as ever, and his global enthusiasm remains a force of nature in itself. Ghost Elephants takes its place as yet another of the director’s essential forays into the wild and unknown.

The movie is maddening too, just as it intends to be, but you do watch, and care, and learn. What seems at first to be a gallery of narcissistic rogues turns into something else, a study in equal-opportunity romantic folly.

Mr. Lee's film is stronger as a visual experience - especially in 3-D - than an emotional one, but it has a final plot twist that may also change what you thought you knew about the ancient art of storytelling.

This is more than a respectful remake; Let Me In is quietly stylish and thoroughly chilling in its own right.

It’s all too seldom that a feature film combines brilliant acting with a spellbinding flow of language.

The Witness is remarkable for its emotional impact, and its clarity. The picture that emerges isn’t perfectly clear; the whole truth will never be known, Bill Genovese says. What he has made known, though, is valuable.

No beauty contest has ever been more bizarre than the one in Gerardo Naranjo's shockingly powerful thriller.

Should be a delight for everyone. Bird watchers will find affirmation and even explanation for their avocation. People who can't tell a towhee from a titmouse will still wonder at the beauty of it all.

None of it rings true; those who seek a serious dramatic inquiry into the inner workings of the church should look elsewhere.

An absolutely phenomenal film by the Korean director Bong Joon-ho.

This is a movie about the joys of friendship, among many other things, and the possibility of change—for the better, not only for the worse, and not only through blood-alcohol adjustment.

The whole film is unlikely, a joyous story of youth, innocence, sweet earnestness, charming ineptitude and a shaky but productive belief on the hero’s part that he can do anything he pleases.

This isn't entertainment in any conventional sense, but it's a mesmerizing film all the same.

Readily accessible, slyly subversive and perfectly delightful film.

All three of these attractively awful figures are to egotism approximately what the sun is to light, which makes for a delightful triangular battle for supremacy not unlike the one in All About Eve. Clever plotting—an early, seemingly throwaway scene in which Félix does some goofy martial-arts training turns out to be critical—and inventive character details enhance the wicked fun.

The film feels self-obsessed, an intriguing drama that slowly devolves into a bleak meditation on the absence of dramatics.

Priscilla is gorgeous and at times intoxicating, but like Ms. Coppola’s previous efforts, it could do with less woolgathering and more character development.

The Innocents features some superb kid-acting, which doesn’t just entertain and convince but embellishes the malevolent intelligence (call it sociopathy) at work in Mr. Vogt’s story.