Scott Foundas

There are a lot of compelling ideas afloat in “Amnesia” that never fully congeal, but the undeniable sincerity and personal commitment of Schroeder’s vision help to carry the film over its rough patches.

An appreciably moody but dramatically stilted crime drama that exudes a certain retro appeal before collapsing into a series of empty neo-noir poses.

A colossally overproduced white elephant of a movie that obfuscates both its own protagonist and his important message with layer upon layer of unnecessary “style.”

Those willing to enter The Club will discover an original and brilliantly acted chamber drama in which Larrain’s fiercely political voice comes through as loud and clear as ever.

A delightful if never particularly deep survey of an American comic institution.

What emerges, finally, is a film that gives an urgent, original voice to a people too frequently marginalized in both movies and society at large.

Porumboiu’s particular brand of farce is always shot through with the pulse of everyday life and its Sisyphean struggles. He is, simply put, one of our great contemporary observers of the human comedy.

A low-key but sharply observed work that benefits from real local flavor and a gift for lyric image making.

Melanie Laurent brings a sure, sensitive hand to tonally tricky material and draws superb work from relative newcomers Josephine Japy (“Cloclo”) and Lou De Laage (“Jappeloup”).

If Johnny Depp’s mesmerizing performance — a bracing return to form for the star after a series of critical and commercial misfires — is the chief selling point of Black Mass, there is much else to recommend this sober, sprawling, deeply engrossing evocation of Bulger’s South Boston fiefdom and his complex relationship with the FBI agent John Connolly, played with equally impressive skill by Joel Edgerton.