You Can See Everything is already the most talked-about documentary of recent years. Nathan Weinbender says it lives up to the hype as a fascinating, exhilarating brain teaser about the nature of truth and objectivity.

In his new documentary The History of Concrete, now playing at the Magic Lantern Theatre, John Wilson explores the quirks of American life and urban development. Nathan Weinbender says it’s one of the funniest and most poignant movies of the year.

Verity is evidence that a beach read doesn’t necessarily make for something worth watching on the big screen, Dan Webster says.

Behind a heavily made-up Tom Cruise playing an unscrupulous oil magnate, Digger is an indictment of blatant greed, Dan Webster says.

Lance Oppenheim’s Primetime takes a critical look at the man behind the television show “To Catch a Predator,” Dan Webster says.

In Lance Oppenheim’s Primetime, Robert Pattinson plays Chris Hansen, the host of “To Catch a Predator” on the hunt for ratings and journalistic recognition. Nathan Weinbender says the movie is a simplistic but oddly compelling true-life horror story.

Ross McElwee’s documentaries are quirky, stream-of-consciousness considerations of his own life and the world around him. In Remake, now on VOD, he stitches together archival footage to process the death of his son, and Nathan Weinbender says it’s a wounding, complicated and deeply moving film.

Hope is the most expensive Korean film ever made, a blockbuster about a small town, an alien invasion and lots of chases. It has already been a divisive movie, and Nathan Weinbender says it’s a kooky, wildly ambitious and noticeably flawed epic.

As the biopic Tony shows, movie attempts to capture the character of a real person all too often fall flat, Dan Webster says.

The End of Oak Street is a standard family-in-crisis movie with a fantastical dystopian conceit, Dan Webster says.