Caryn James

The flaws in The Garden Left Behind should not prevent anyone from appreciating the rich, compassionate story Alves has brought to the screen with such assurance, or the heroine Guevara has brought to life with such realism.

De Wilde and Catton deliver a largely faithful and unchallenging adaptation, beautifully staged and sharply acted by a cast adept at balancing wit and romance.

Perhaps no film can capture the enormity of that war, which left around 17 million dead, and generations to grieve. Director Sam Mendes wisely takes the opposite approach, personalising the experience through two young British soldiers sent on a harrowing, high-stakes, night-long mission, he creates a film that is tense, exhilarating and profoundly moving.

Gerwig’s smart, delightful film seems on its way to becoming a classic.

The film succeeds as an astutely constructed, sensitive piece of journalism that becomes a moving account of dealing with grief and irreparable loss.

Mildly informative but superficial, Shooting the Mafia is much less dynamic than its title.

Fayyad and his cinematographers and editors wield the cameras and shape the scenes in the documentary so beautifully that The Cave is both intensely real and a carefully wrought work of cinema. A kind of counterpart to Last Men, the new film is perhaps more wrenching and even more ambitious in its visuals.

Shaped by a near-constant monologue from a golden retriever named Enzo, The Art of Racing in the Rain is watchable but flat, with only occasional flashes of wit and feeling.

This misadventure of a project is a blip on the actresses’ résumés.

The documentary rarely presses its larger points. But it calmly reveals how much journalism has changed since Ivins started out in the late 1960s, yet how relevant her observations about the blight of corporate money in politics and threats to the First Amendment remain today.

Full of eye-opening musical performances, the film also sparkles with tongue-in-cheek humor, and features contemporary interviews that are often far from what they seem. You have to go back to After Hours to find a Scorsese film with a similarly mischievous wit.

As talented as Yara Shahidi and Charles Melton are individually, they don’t have much chemistry.

The idea is cartoonish in its essence but the pic is shot and played with such straight-faced realism that Swallow becomes utterly ridiculous.

A drama with dazzling visuals, subtle performances and deft nods to classics like Days of Heaven and Bonnie and Clyde. ... While Dreamland doesn’t entirely overcome its familiar trajectory, the film is so stunning in every other way that its narrative shortcoming hardly matters.

Cinematically modest but full of social and political urgency.

While it lacks the ambition to turn its obvious plot into a film that feels new, it also avoids the pitfalls of moral smugness and stereotyping. It flows along easily, bolstered by Taraji P. Henson’s and Sam Rockwell’s vibrant performances.

The didactic screenplay sinks the film. Instead of exploring characters, or having them spout witty lines, Ting has them explain everything to each other, out loud, almost all the time. ... It’s great to see more films with Asian and Asian-American actors and stories, especially one written and directed by a woman. But while Ting’s movie may be heartfelt, it offers viewers more fluff than heart.

There is nothing radical or especially distinctive about the style of this mildly entertaining documentary.

The film becomes more exhausting than tense. In the end, all that manipulation backfires. Unlike the best of its genre, the rote Five Feet Apart isn’t wrenching enough to jerk a single tear.

Batra turns a story that sounds tired and goofy into a lovely film with a tone of tender sadness.

Mixing archival material and fresh interviews with Edwards and her crewmembers, Holmes creates an engaging, suspenseful story with layers of social resonance. Maiden is gripping and effective even if — maybe especially if — you have absolutely no interest in sailing.

Miller Costanzo’s debut is more than promising. It should stand as a wonderfully accomplished launch to a bright career.

After a creaky start, Egg comes through with terrific performances from Reiner and especially Hendricks, and with some scenes of piercing honesty.

Director Anne Fletcher has made better rom-coms, like The Proposal, but they had better scripts. Written by producer Kristin Hahn, Dumplin’ clings timidly to its YA roots, which are firmly on the unsophisticated side of the spectrum.

Only the comic parts soar, and they fit uneasily with the pallid romance and half-hearted family drama.

The sequel has better and at times galvanizing special effects, a darker tone and a high-stakes battle between good and evil. Best of all, its characters are more vibrantly drawn, and tangled in relationships that range from delightful to lethal.

[A] solid, straightforward history of abortion rights in America.

Child's Play has some limp dialogue among the clever touches. Its appeal is clearly for upscale horror fans rather than a general movie audience. Yet it is a fitting successor to the classic television horror stories it takes off from.