Jennifer Harrington’s smart horror film skewers social-media influencers—literally.

It's also rather hilarious. And it makes us viewers complicit with a storyline that makes something less than total sense, but does so in such a good-natured way that we don't really care.

One of the saving graces of Saint Maud -- in fact, its chief virtue -- is the disequilibrium one experiences watching her walk the line between mere disturbance and outright insanity.

Mr. Wilson has always seemed congenitally sardonic and Ms. Hayek, quite game given the material, is a comedian at heart. So neither seems wholly committed to the seriousness of Bliss -- and if the story isn't serious, what is it?

In his best performance yet, Justin Timberlake plays an ex-con who finds himself the surrogate dad to a struggling kid.

Penguin Bloom director Glendyn Ivin doesn't honey-coat the difficulties faced by Sam or her family, which is one of his film's virtues.

One Night in Miami is about innocence and experience, and Regina King, a well-known actress herself, has a cast at her disposal that is capable of enormous subtlety.

Ms. Jackson has always shown herself to be an exacting and gifted artist, but Maud Horsham is the kind of role that requires much more out of a performer than just actorly craft. And that, happily, is what we get.

As director Alison Ellwood shows in her briskly entertaining documentary, the band's members can explain away, with enormous charm, the naked ambition that made them the most successful "girl group" ever.

Much is tailored to the needs of drama in "Godfather, Coda." But one cannot manufacture urgency in a film that lacks the kind of cosmic conflict of its two predecessors.

It is urgent and suspenseful, even if one is aware that around its periphery exists information that, in a courtroom, would be deemed quite relevant to the case.

The film, the underpinnings of whose fantastical story lie in tortured Irish history, is terrific fare for kids.

An unavoidably sordid but captivating story.

There's little fault that even the most hardcore fan could find with Mr. Winter's film, which accomplishes the acrobatic act of doing justice to a figure like Frank Zappa.

Errol Morris has taken the mechanics of movie journalism a step further. It's not an entirely new thing, but it's a film-nerd treat and a fascinating technique, almost as fascinating as the subject herself.

Uncle Frank feels like a memoir, and also feels extraordinarily true, and fresh, thanks to the untrammeled terrain it visits, at least in New York.

The prolific Mr. Gibney makes art out of the most unlikely subjects, and in Crazy, Not Insane his expressionist's inclinations are given full rein.

Nicolas Cage has worn a lot of things on his head over the years, but the Burmese fisherman's bonnet we glimpse at the beginning is something new. It's one of the few things in the movie that is.

Like its subject, Belushi is sometimes simply too much.

It knows a lot about art history and presumes we know nothing.