Nicolas Rapold

There’s something grudgingly admirable about the voluble star essentially spending an entire film doing reactions. But it’s a disastrous move in a Hollywood satire that already needs to be more than a grab bag of jokes.

Its splashy, curiously filter-free adventures unfold in Italy and Germany during World War II, to sometimes awkward effect.

Reed’s initial overeager stylings fall back to reveal a mature reckoning with love, hurt, independence, and hard-won wisdom.

Baisho gets across the creeping despair that morbidity and the loss of community can create — a sensation that lets Plan 75 double as a consummate entry in pandemic-era cinema.

The film’s sometimes brusque transitions and decentered perspectives are just as transgressive as any of the graphic imagery.

Paik is undeniable, creating despite lean times (and slowing after a 1996 stroke).

It’s all a heady brew that leaves one wanting to know even more about Roberts, who is now running for mayor in Denver. The movie resists encapsulating him, or perhaps he escapes its director’s full understanding.

For a documentary largely about archives, it should be better organized, but its breathless profusion of information underscores the scale of the task at hand.

A House Made of Splinters is made with such aching sensitivity that it’s a marvel a camera was used and not some form of mind-meld.

The film’s biggest trick might be casting Moore, Stan and the positively glowing Middleton and still never quite catching fire.

The ticktock horror plotting muffles the romantic spark that brought Maja and Leah together in the first place — the thrill replaced by a lukewarm chill.

The message of manifesting your goals reigns supreme, which is great, but it’s worth mentioning that Watson’s willpower benefits from the privileges of financial security, family support and a curmudgeonly-turned-selfless coach.

Pathaan is in some ways a save-the-world superhero movie without suits, and while less self-serious, the hefty length can lag. More is not always better — though the gusto of Padukone speedskating to the rescue at one point goes a long way.

It’s all a reminder of the labor and risks that go into creating and preserving essential imagery of the past, even for the most notorious events in history.

A serviceable slab of possession horror.

It can’t fail to trigger shudders of recognition as well as feelings of release, but the filmmaking lacks a certain drama.

Bahrani’s film (which he narrates) beetles along without fully exploiting Davis’s ample entertainment value, which is counterbalanced by accounts of his dubious actions and sometimes unseemly opinions.

As edited, Moreh’s interviews prize policy analysis and haunting candor over gotcha moments or grandstanding.

It’s boosterish and jam-packed, like many pop-culture documentaries (not just ones produced by Disney about Disney).

The writer-director, Andrew Bujalski, zeros in on the delicate dances and negotiations between the people in these two-handers, which percolate with sly humor, decency, curiosity and sheer nerve.

The shrewdly observant film sticks with one Afghan general, Sami Sadat, to tell an emotional story that feels as significant as any analysis of troop numbers.

The actors’ chemistry feels brittle, and like many road movies it has trouble mining drama out of disparate episodes.

The film’s skimping on economic and social issues echoes one description of Biden’s own messaging by some pundits: low-key to the point of obscuring the full picture of his efforts.

Plan A never quite rises to the challenge posed by this remarkable chapter in history.

If only the story of Hinterland felt as engrossing and alive as its setting.

With his feature, Davenport stakes out his own vantage point on the world, one that leaves a viewer wishing to hear his thoughts elaborated even further.

A wistful beauty and a delicately imaginative sense of craft set Vesper apart from most post-apocalyptic stories.

Decency prevails in a somewhat ludicrous finale involving an army of children and a train containing a high-ranking officer. It’s an ending so tidy as to undercut the effort to broach a shameful side to the American war effort.