Dana Stevens

What it lacks in originality and narrative momentum — even more than Nemo, Finding Dory is in essence a loosely connected series of comic-suspenseful chases, bookended by heart-tugging moments of family separation and reunion — this new movie makes up for in psychological acuity and sensitivity.

Linklater may not have set out to make a decade-spanning triptych of poetic meditations on youth, young adulthood, and middle age, but he, Hawke, and Delpy have accomplished exactly that. The Before series has steadily gotten better as it goes along, which is more than any but the most optimistic among us dare to hope for from love.

Poor Things is a feminist recasting of the Frankenstein myth, a gorgeously designed setting for the jewel that is Emma Stone’s lead performance, and not just my favorite Lanthimos movie I’ve seen yet but maybe the only one of his I’ve really liked.

Tabloid is the perfect movie for that night when you can't decide whether to see something low- or highbrow. It's seamlessly and satisfyingly both.

A gorgeous entertainment, a feast of blood, passion and silk brocade. But though the picture is full of swirling, ecstatic motion, it is not especially moving.

Ms. Testud's performance, which earned her a César, the French Oscar, for most promising actress, is the source of the movie's lingering, troubling power.

Lincoln does sometimes get a little sappy around the edges. Though his project here is clearly one of conscious self-restraint, Spielberg can't resist the occasional opportunity for patriotic tear-jerking, usually signaled by a swell of John Williams' symphonic score. But in between, there are long stretches that are as quiet, contemplative, and austere as anything Spielberg has ever done.

Lee Isaac Chung’s reboot is a worthy successor to the original, a rollicking popcorn thriller with an appealing screwball romance in the eye of its fast-moving storm.

At once somber and mysterious, comical and sad. It shows just how lonely a crowded city can be.

If there were an ensemble acting award at the Oscars, Glass Onion would be a lock for a nomination. The dialogue is fast-paced and verbally dense, and everyone in the cast volleys it back and forth with as much deftness as apparent pleasure.

Mr. Corneau, an eclectic director with a mildly perverse sensibility, turns the conflict of cultures into a psychodrama that is at once lighthearted and intense.

There is really no other way to categorize this splendid, crotchety artifact.

Though it goes to places as dark as any you could imagine, Room carries at its heart a message of hope: Two people in four walls can create a world worth surviving for, if they love each other enough.

A slow-burning suspense thriller about a trio of eco-terrorists conspiring to blow up a dam, it’s directed by Reichardt with the concision and elegance of a chess master.

There's something old-Hollywood about Slate's dizzy-dame charm, and at the same time, something very modern about her unapologetic ownership of her own sexuality.

The tale, in any case, is so gripping, so full of improbable turns and agonizing reversals that it bears repeating, and Mr. Butler and Ms. Alexander tell it straightforwardly and well.

The movie is a gaudy, noisy thrill ride -- hyperactive, slightly out of control and full of kinetic, mischievous charm.

In its brief sojourn on the screen, A Ghost Story moves through centuries of geologic time and into the deepest recesses of the human heart.

It's always hard to predict how a work of art will age over time, but I have the feeling that, like its three young leads, the Harry Potter series will turn out just fine.

Martin Campbell (who also directed Pierce Brosnan's first outing as Bond in "Goldeneye"), has chosen to give us a Bond who's both metaphorically and literally stripped bare. Let me take this opportunity to thank him for both.

Watching The Five Obstructions is at once like witnessing two chess masters playing dominoes and like spying on a series of therapy sessions. Mr. von Trier clearly sees himself as a maniacal psychoanalyst.

Strikes a difficult and necessary moral balance, refusing to succumb to hopelessness but also refusing to rule it out.

Rarely has the basic nature of visual perception seemed so frightening.

Your attention is rewarded by a film of surprising depth and a few deep surprises.

Like most great musicals, though, this one slides, with breathtaking ease, from silliness to pathos and freely mixes exquisiteness and absurdity.

Whatever your opinions about the war, the conduct of the journalists who covered it and the role of Al Jazeera in that coverage, you are likely to emerge from Control Room touched, exhilarated and a little off-balance, with your certainties scrambled and your assumptions shaken.

Holy Motors, a movie that's beyond weird, and beyond beautiful.

If her films so far have ranged from very good to great, The Land of Steady Habits exists somewhere at the low end of that continuum. But that still makes it a very good movie, full of sharp dialogue and lacerating insight about the haute-suburban milieu that the script both skewers and struggles to understand.