Christian Blauvelt

Bienvenu comes up with a stirring ending, one so emotional it almost paves over the bumps in the narrative road that got us there.

This is a film that should make us all more sensitive, more attuned, more questioning of our biases. The fact that it’s such a riveting experience makes it all the more powerful in that regard.

Fundamentally, Shenk and Cohen are trying to argue for a particular solution here, and it might be promising indeed, but it’s also presented as a little too much of a silver-bullet for the issues they’ve identified.

Barbara Walters Tell Me Everything is then both an unvarnished portrait and a slightly incomplete one. Very subtly it does show how, as a woman operating in very much a man’s world, she opened the doors for others while not necessarily doing a whole lot to change the system and its paradigms and its power structures, full-stop.

The documentary builds to an almost euphoric ending.

In the wave of documentaries about the Ukraine War that have come out over the past two years, there hasn’t been one that’s offered what David Borenstein’s Mr. Nobody Against Putin does — and certainly not with such wit, verve, and insight: The view inside Russia.

2000 Meters to Andriivka” is a grueling watch that can’t possibly capture the full extent of the traumatic day-to-day of waging this war. But even capturing a slice of it is a triumph of empathetic identification.

Veiel and Maischberger build a compelling case that she was in fact a Nazi, right up until the end of her life.

A movie brimming with sentiment but not sentimentality, this is one of the most moving animated films in recent memory, and, beyond that, groundbreaking too.

Watching Errol Morris‘s urgent reminder of a documentary — possibly the most enraging film yet made by a director who’s certainly known how to illuminate infuriating topics over the past 45 years — will raise your blood pressure considerably.

Parker and Stone joked that they’ll have to make a lot more TV shows to pay off their ill-fated investment, but it’s entirely possible that Casa Bonita will be a bigger piece of their legacy than anything in their filmography.

This sloppy, scattered documentary, very much lacking the refinement of Merchant Ivory’s own films, is a missed opportunity to explore why their films are great, what exactly is it that makes viewers return to them time and time again.

Sorelle has said that she created “Mountains” as a movie where “between plots lie moments.” How refreshing. Especially since those moments really feel like they exist, more than just “being captured.”

Coup! isn’t objectionable for its politics, it’s objectionable for trying to deny them. Unless its politics are just that muddled, and then Stark and Schuman have no idea at all how to express whatever it is they’re trying to say.

Much of what we see is what the Taliban wants us to see, but as that’s what’s really important to them, it’s also what we — anyone who’s a non-fundamentalist — need to see to understand them.

June Zero is a film as a conversation piece. It may not be especially articulate at moments, it may not be as focused as it could be. But some of that is by design: This is a film with questions, not answers. Its tangents are like those of any meaty conversation. And it’s a conversation worth having.

At the very least, Nowhere Special is one of the great father-son movies.

The problem is that, after that early peak of a first act, The Accidental Getaway Driver doesn’t have much tension.

The result is an extremely multi-dimensional portrait of a First Lady, one who, you can’t help but think, was the most significant at that point since Eleanor Roosevelt in her accomplishments and her influence on policy.

Bringing this 1,000-page novel to animated life in this way isn’t just an adaptation, it’s an illumination. It makes real the heightened reality that exists in your mind when reading a particularly captivating book.

Macdonald has crafted one of the most riveting rise-fall-redemption story arcs in documentary format in recent memory, with Galliano himself as his unreliable — but never less than compelling — guide.

The result is an aggravating missed opportunity to tell a story that absolutely needs to be told to an audience that needs to hear it.

It’s one of the most chilling art-Westerns to come along in some time, as provocative for its ideas, dialogue, and characterizations, as for the beauty of its empty landscapes.

There’s a candor and a rawness here that’s inherently compelling.

All of this is about connecting the dots in the case and raising awareness of something that was forgotten all too quickly in the Republicans’ haste to get him confirmed.

"Black & Blues” is a doc that will make you appreciate Armstrong, the man. Someone far too complex to reduce to any one thing.

Pacifiction is not a vicarious experience of luxury; it is an experience of life. Set to its own tidal rhythm, it is one of the most beautiful and rigorously introspective movies of this or any year, a film that makes you deeply ponder the fate of humanity itself.

It makes you recognize, through the force of its telling, why the story of Poitier’s life matters. And will matter forever.