Christy Lemire

Mustang grabs you with its own sense of haunting melancholy, as well as an increasing feeling of urgency and outrage.

Qhile this particular story takes place nearly a decade ago, it remains unfortunately timely as Russia’s horrific war in Ukraine rages on; Klondike helps put a specific, vivid face on a faraway conflict.

All of which makes I, Tonya such a wonder. Not only will it make you think about Tonya Harding again, it will make you do so with unexpected sympathy.

Jordan has long since proven himself as an actor of terrific charisma, versatility and humanity; with Creed III, he shows he’s just as captivating on the other side of the lens.

It’s steeped in traditional cultural locales and details, yet feels bracingly modern with the help of dazzling special effects and innovative action sequences.

There are life lessons here to be learned and shared, for sure. But the film moves with such thrilling pacing it feels more like a celebration.

If you love movies about process, about people who are good at their jobs, then you’ll find yourself enthralled by the film’s many moments inside offices, conference rooms, and production labs.

All these elements come together with a delicate tonal balance that would have been difficult even for veteran filmmakers to achieve. See “Twinless” with your other half, whoever they may be. This is a movie you’ll want to talk through with someone afterward.

A musical about the aftermath of 9/11 may sound like an eat-your-vegetables chore, but Come From Away is as comforting—and as layered—as a plate of poutine.

If you’re seeing it with hopes of glittery escapism, based on its A-list stars and a trailer that prominently features a cover of Madonna’s “Material Girl,” be prepared that the result is a little sadder, a little more substantial. And that’s much of what’s so wonderful about it.

Ghost Trail is an intimate study of trauma that plays with the gripping suspense of a globetrotting spy thriller.

Simply as a technical spectacle, Taylor Swift: The Eras Tour is a dazzling achievement, capturing the sensation of seeing the pop goddess’ sold-out concerts in all their enormity and intimacy.

At only 24, Joris-Peyrafitte shows confidence and talent beyond his years, with an artful eye for imagery and a truthful ear for dialogue.

It may not sound like it on the surface, but Raw is absolutely a celebration of female power — of realizing who you are, what you want and how to go after it, albeit with brutally bloody results.

This is a persuasive piece of advocacy filmmaking, tucked inside a playful and profane comedy about female friendship. You’ll laugh. You’ll cry.

Renaissance is both intimate and vast as it basks in Beyoncé’s impossible beauty but also turns the camera toward the audience to emphasize the powerful sense of community the Beyhive provides.

The clever details, amusing name-drops, and precisely pointed digs at vapid celebrity culture keep Johnson’s movie zippy when it threatens to drag.

The Menu remains consistently dazzling as a feast for the eyes and ears.

As a realistic portrayal of an all-consuming drive, it sticks the landing.

Swedish director Björn Runge’s approach is no-nonsense and workmanlike, perhaps to give these esteemed actors room to swagger and shine, but a bit more imagination and artistry wouldn’t have hurt.

Young Woman and the Sea doesn’t reinvent the genre in any way, but it keeps us engrossed for every strenuous stroke.

Director Lara Stolman explores this paradox — that these young men must submerge themselves in the water to emerge as the best possible versions of themselves — with her modest documentary feature debut.

This is the kind of solid, grown-up drama we don’t see very often anymore. In a world of superhero blockbusters, this low-key throwback of a Western is the stuff of timeless cinema, but it may as well be a unicorn.

Regardless of where you fall on the issue, “Eternal You” is undeniably beautiful, with artful cinematography from Tom Bergmann and Konrad Waldmann that creates an air of mystery from the very beginning.

Co-stars Will Smith and Margot Robbie remain consistently charismatic, even once the script for this heist caper collapses in a punishing pile of its own twists and double-crosses.

It’s a slow burn, but even as events turn more than a tad preposterous with twists that seem not just predictable but inevitable, Farr keeps a handle on the tension and tone, which keeps us hooked.

Lingua Franca isn’t a screed. Far from it. Sandoval pulls us in gently with long, single takes which are often static, immersing us in the quiet rhythms of the lived-in environment she’s created within the Russian-Jewish neighborhood of Brighton Beach, Brooklyn.

April is as exquisite as it is excruciating: a film that will linger with you long afterward, but you’ll probably never want to watch it again.