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There’s plenty injustice here to enrage the thinking, feeling citizen, but despite a passionate performance by charismatic Aldis Hodge, this docudrama is nowhere near incensed enough on his behalf.
Seriously adorkable teen is saved, in 1987, by the rock poetry of Bruce Springsteen. The Boss is still relevant today, as is, alas, the harsh political and economic setting of Thatcher’s Britain.
The legendary literary lesbian romance, starring the incendiary duo of Gemma Arterton and Elizabeth Debicki, is criminally blah, lacking all sexual and intellectual passion. How does this happen?
Joyful and rowdy, self-deprecating and vulnerable, absolutely electrifying as it deconstructs the sex-drugs-and-rock’n’-roll story. Taron Egerton is chills-inducingly good. Sheer cinematic magic.
Two very different films, replete with emotionally engaging performances, examine the impact of the American death penalty from the large-scale legal and political to that of intimate personal grief.
This infuriatingly reductive biopic of the Hobbit author renders him as stolid and dull, and removes all the mystery and the wonder from creative inspiration. Literal-minded and free of magic.
There’s a lot of hot-button stuff going on in this A-bomb spy drama — politics, sexism, scientific ethics — but it’s all surprisingly inert, given the literal fate-of-the-world stakes.
Like Drunk History but sober, a lively, arch, dryly comedic corrective to the traditional, heteronormative, patriarchal image of Emily Dickinson. Incredibly audacious and utterly delightful.
Elegant but dull, and so subtle it’s downright diffuse. If you don’t know much about Rudolf Nureyev going in, you won’t know much coming out, either. Weirdly, it doesn’t even feature much dancing.
My pick: Vincent Lambe’s controversial and profoundly harrowing “Detainment,” a dramatization of the real-life police interrogations of the 10-year-old boys who killed a toddler in England in 1993.
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