| LAT | RTMC | RTC | note: “~” = the film's name | |
| documentary | ||||
| California Typewriter | yes | 100 | 100 | smartly recounts contemporary passion for beloved machine |
| Dolores | yes | 100 | 100 | celebrates a hero; shows what a life of total commitment means |
| Strong Island | yes | 100 | 100 | An intimate look at race, injustice and murder |
| Unrest | yes | 100 | 100 | documents crippling autoimmune disease |
| Twenty Two | yes | 100 | giving voice to the surviving “comfort women | |
| Boston | yes | 100 | astutely covers the long, storied history of the city's famous marathon | |
| Two Trains Runnin' | yes | 100 | captures 1964 collision of blues and civil rights | |
| Trophy | yes | 98 | 100 | *alternately alarming and frustrating |
| Ex Libris: The New York Public Library | yes | 96 | 95 | *Frederick Wiseman delivers an ode to knowledge |
| Spettacolo | yes | 94 | 100 | Italian townspeople stage drama from their lives |
| School Life | yes | 93 | 91 | *goes inside an Irish boarding school for an unusually charming doc |
| The Force | yes | 92 | 100 | Oakland Police Department doc advocates for the truth |
| Machines | yes | 91 | 71 | powerful; looks at dehumanizing factory work in India |
| Motherland | yes | 90 | unforgettably immerses audience in Manila maternity ward | |
| Clive Davis: The Soundtrack of Our Lives | yes | 88 | 80 | hits the high notes of unlikely music mogul's success |
| Let's Play Two | yes | 78 | 60 | Cubbies and Pearl Jam make for a joyful mix |
| Take Every Wave: The Life of Laird Hamilton | yes | 76 | 73 | we feel privileged to have such an intimate glimpse |
| Man in Red Bandana | yes | 63 | a powerful and inspiring experience | |
| Beside Bowie: The Mick Ronson Story | yes | argues that British rocker deserves more credit for Ziggy Stardust | ||
| Stopping Traffic: The Movement to End Sex Trafficking | yes | Filmmaker-monk goes after sex trade | ||
| Manolo: The Boy Who Made Shoes For Lizard | so-so | 65 | 73 | a bit unfocused; loosely chronological but otherwise haphazard |
| Gaga: Five Foot Two | no | 75 | 67 | Lady Gaga gets personal, but can't overcome clichés |
| Red Trees | no | 56 | takes an unusually artsy approach to Holocaust story | |
| Embargo | no | lacks an incisive point of view | ||
| Fallen | no | not even a minimal effort been made to address policing controversies | ||
| Neary’s: The Dream at the End of the Rainbow | no | feels long, like it might have been better suited to a short | ||
| Prosperity | no | Slick eco-doc promotes more than it explores | ||
| animated | ||||
| Window Horses | yes | 100 | 100 | *The young poet finds identity and belonging in a foreign land |
| Napping Princess | yes | 67 | Inventive and imaginative | |
| Loving Vincent | so-so | 81 | 83 | visually distinctive, uneven, but deeply felt homage. |
| The Lego Ninjago Movie | no | 54 | 46 | a few pieces short of the animated franchise's standard |
| regular movies | ||||
| White Sun | yes | 100 | 100 | Cultural and generational divides tear at Nepalese village |
| Free in Deed | yes | 100 | Tortured souls seek human contact in deeply felt spiritual drama | |
| Happy Hunting | yes | 100 | has a bloody good time taking aim at societal hypocrisy | |
| Lucky | yes | 98 | 97 | *Harry Dean Stanton gives a beautiful final star turn |
| Stronger | yes | 94 | 95 | *a memoir [of] a survivor of the Boston Marathon bombing |
| Clash | yes | 93 | 86 | *Politics, religion and humanity come into conflict |
| Super Dark Times | yes | 92 | 93 | artfully blends suspense and '90s teen angst |
| Heartstone | yes | 92 | an affecting coming-of-age story of two boys in Iceland | |
| Sieranevada | yes | 91 | 100 | *a richly engrossing, philosophical family drama |
| After Love | yes | 91 | 92 | *Divorce, French-style, in the gripping domestic drama |
| Our Souls at Night | yes | 91 | 85 | Jane Fonda and Robert Redford in a winning late life love story |
| The Teacher | yes | 89 | 100 | has a lesson for audiences about corruption in a Communist society |
| Lipstick Under My Burkha | yes | 89 | *Women assert themselves with verve in Indian drama | |
| The Wound | yes | 88 | 89 | Questions of self and manhood run deep in South African drama |
| American Made | yes | 87 | 75 | *Tom Cruise dominates the screen in the larger than life |
| Battle of the Sexes | yes | 86 | 91 | *enjoyable and entertaining |
| Brad's Status | yes | 82 | 90 | *terrific midlife-crisis comedy |
| The Nile Hilton Incident | yes | 81 | 63 | Crime and corruption on the eve of revolution |
| The Tiger Hunter | yes | 76 | 86 | Charming comedy sets immigrant dream in 1979 Chicago |
| The Limehouse Golem | yes | 76 | 60 | *makes for a perfectly watchable if overtly theatrical whodunit |
| Thirst Street | yes | 75 | 67 | has its share of disreputably perverse pleasures |
| Viceroy's House | yes | 71 | 57 | opens the door to a key era in India's past |
| Kill Me Please | yes | 69 | 86 | Teen girls tempt fate in the sexy Brazilian thriller |
| Dayveon | yes | 69 | 60 | Bees, gangs et al challenge teen in the intriguing coming-of-age drama |
| mother! | yes | 68 | 69 | darkly exhilarating |
| Last Rampage | yes | 56 | a solid, dramatized account of the flight of [a] convicted murderer | |
| Shot | yes | 42 | 50 | absorbing and authentic |
| Home Again | yes | 31 | 21 | an exceedingly pleasant place to escape to for a couple hours |
| Rebel in the Rye | yes | 29 | 19 | J.D. Salinger biopic effectively evokes author's struggles |
| The Vault | yes | 29 | Horror/heist mash-up effective on multiple levels | |
| The Sound | yes | 25 | Rose McGowan shines in the atmospheric horror film | |
| Friend Request | yes | 15 | 17 | so gloriously dumb that it is surprisingly a whole lot of fun |
| Get Big | yes | Laughs abound in indie comedy | ||
| Slipaway | yes | the touching story of an unlikely friendship | ||
| The Houses October Built 2 | yes | revisits effective mix of found-footage horror and haunted houses | ||
| Before the Sun Explodes | yes | well-acted, intimate drama | ||
| Indivisible | yes | Conjoined twins with a chance to live separately lend spellbinding power | ||
| First They Killed My Father | so-so | 88 | 77 | always impressive but not emotionally compelling |
| Anti Matter | so-so | 88 | more interesting than entertaining | |
| Polina | so-so | 84 | 83 | Dance drama transcends its flat story through the magic of movement |
| Jesús | so-so | 82 | 80 | spiritual emptiness is certainly the prevailing mood |
| The Unknown Girl | so-so | 71 | 81 | mostly compelling moral mystery; imperfect but absorbing |
| Victoria & Abdul | so-so | 64 | 54 | lopsided crowdpleaser |
| American Assassin | so-so | 34 | 38 | a serviceable, workman-like thriller |
| Tulip Fever | so-so | 10 | 13 | neither the disaster nor the masterpiece the studio would have hoped |
| Jackals | so-so | may be derivative, but it still provides frights | ||
| The View From Here | so-so | an affecting drama despite a half-baked restaurant subplot | ||
| Scareycrows | so-so | British horror-comedy provides harmless giggles | ||
| Tam Cam: The Untold Story | so-so | Rousing, if familiar, adventure in Vietnamese folk tale | ||
| Soy Nero | so-so | Determined to earn citizenship, a 'Dreamer' heads to war | ||
| In Search of Fellini | no | 100 | Fantastical drama values character quirks over story | |
| It | no | 85 | 80 | delivers nightmarish visuals but misses the true horror of the novel |
| A Very Sordid Wedding | no | 83 | The uninitiated may get lost; overlong picture; excess of back stories | |
| Realive | no | 77 | 71 | Narration and dense script overwhelm futuristic drama |
| Elizabeth Blue | no | 55 | has an unfortunate tendency to overexplain itself | |
| Kingsman: The Golden Circle | no | 51 | 28 | Spy-caper sequel offers more and more of the same |
| Year by the Sea | no | 50 | 44 | Karen Allen is a wonder, but she deserves better |
| England Is Mine | no | 50 | 22 | unsatisfyingly stops just short of the Smiths |
| The Good Catholic | no | 45 | Sitcom-like barbs prevent ~ from finding depth or complexity | |
| Goon: Last of the Enforcers | no | 43 | 50 | Hockey comedy; zipless |
| A Question of Faith | no | 40 | tests its characters' beliefs and the audience's patience | |
| Wetlands | no | 36 | 17 | a detective thriller so amateur it's criminal |
| Mark Felt: The Man Who Brought Down the White House | no | 33 | 27 | Deep Throat drama stays mostly on the surface |
| I Do ... Until I Don't | no | 30 | 29 | Lake Bell hits sophomore slump |
| Literally, Right Before Aaron | no | 26 | 13 | takes the flawed romantic hero trope to its extreme |
| Unlocked | no | 25 | 31 | fails to provide much tension |
| The Wilde Wedding | no | 23 | 20 | Glenn Close, why put up with this? |
| Rememory | no | 22 | 43 | GOT's Peter Dinklage and sci-fi mystery undone by faulty script |
| Woodshock | no | 18 | 17 | Cannabis-infused drama mired in moody death spiral |
| Temple | no | 13 | 20 | Run-of-the-mill horror film delivers the same old evil spirits |
| 9/11 | no | 11 | 20 | is (thankfully) only 90 minutes long; tone-deaf |
| Fallen | no | 7 | a budget “Twilight” | |
| Flatliners | no | 5 | 0 | remake is exactly as witless as you'd expect |
| The Layover | no | 0 | 0 | sets a low bar for bad-behavior comedy |
| Gun Shy | no | 0 | 0 | Antonio Banderas rocks the wig in silly, sloppy action-comedy |
| Against the Night | no | 0 | Horror film sports a cool location, but little else | |
| Don't Sleep | no | 0 | Routine thriller relies on supernatural boilerplate | |
| Mike Boy | no | unspeakably bad, but you must see it to believe it | ||
| Valley of Bones | no | Crime thriller wastes compelling premise | ||
| September Morning | no | it’s just not enough to make a significant comment about [9/11] | ||
| True to the Game | no | lacks the game to back it up | ||
| Infinity Chamber | no | Sci-fi ~ goes on ... and on ... for a little too long | ||
| Ryde | no | Horror film is one brutal but meaningless 'Ryde' through L.A. | ||
| Justice | no | Post-civil war era western piles on the clichés | ||
| The Show | no | A film about on-air suicides is predictable and tone-deaf | ||
| Vengeance: A Love Story | no | A remote Nicolas Cage doesn’t help the melodramatic ~ | ||
| 1 Buck | no | Swampy crime drama sinks fast | ||
| Big Bear | no | Boys-behaving-badly comedy never figures out what it wants to be | ||
| 30-Love | no | Grief and tennis dramedy is all over the court | ||
| Welcome to Willits | no | a weird and woozy slasher and aliens flick | ||
| Different Flowers | no | Not much happens in runaway bride dramedy | ||
| 'Til Death Do Us Part | no | domestic abuse theme comes off as seriously soapy | ||