Steve Erickson

The film itself is filled with a joie de vivre about the possibilities of acting, with Lavant expressing an emotional repertoire from wild humor to great sadness.

Though it could benefit from less hopping around in time and space, and it bears the scars of Poitras’ multiple edits — she showed one cut to Assange, who hated it — if you care about what’s happening to the internet and to global politics, it’s essential viewing.

Futuro Beach is as strong on texture as narrative. It's full of sensual images.

The emphasis on the team's daring amid mass chaos seems a bit off: This threatens to become yet another film about white Americans and Europeans telling the stories of Third World people. But the rest of the film does much to redeem that dubious trope.

The film's surface naturalism and visual grit simply cover up a screenplay that's as full of crap as the average recent Hollywood comedy.

If the film has a major flaw, it's the profusion of subplots in a 100-minute running time. Still, it is a real accomplishment.

This film struggles to do justice to his many accomplishments, shortchanging his artistry.

Louder Than Words obviously means well, but its brand of cheap uplift is the kind of cheese that actually breeds cynicism.

Young & Beautiful is more interesting once Isabelle's secret is out, when it's more about the way other people react to this prematurely jaded girl who seems to have stepped out of a Lorde song.

Wrapped in slick direction (including plenty of split-screen), this goes down easy, but it's wholly unbelievable. Worse, it's instantly forgettable.