Robert Daniels

Maybe the reality of our post-truth world makes “NAZA” a necessity, a byproduct of news that the public at large refuses to consume unless it’s told in an all-too-familiar voice. In that way, “NAZA” is an imperative picture in its own right.

Digger chokes on its own ambitions, and very few of the picture’s participants emerge still breathing.

Nothing pushes the film forward except a couple of noteworthy performances from a sly Crowe and a temperamental Tremblay (the less said about the wooden Woodley, the better). Both actors rise above the stuffy confines of the film’s hazy cinematography to deliver moments of actual intrigue, especially in a climactic debate between the pair that’s predictable but devastatingly acted.

Yeon Sang-ho’s Paradise Lost is an awkward, frustratingly inert blend of underdeveloped ideas about AI and familiar thriller mechanics.

Poignant and irreverent, Onwards And Sideways makes for an impactful, inspirational film about resilience.

The social justice courtroom drama from director Susanna White is an underwhelmingly flat message picture, whose efforts to raise awareness about sexual assault against women is stymied by on-the-nose creative choices and writerly missteps.

Edgerton gives a fully committed turn as Adam, helping boost this London-set debut through its less successful moments.

This is an unfocused, unsteady work that’s so muddled in its plotting and rhythm that even Miike’s signature sense of violent excess feels muted.

By reimagining the action hero through a specifically Muslim lens, Tariq has re-defined the genre into something more introspective and compassionate, rapturous and revelatory.

Farrelly’s stylistic, crowd-pleasing homage only works because the bones of what he is reassembling are naturally strong. That reality is a credit to Stallone’s hard work all those decades ago, and an indictment on how little I Play Rocky brings of itself to the cinematic ring.