G. Allen Johnson

Fallen Angels is proof that Wong will try anything, and the result is an eclectic mix of images and disjointed editing, sounds and rhythms that are at times as powerful as any piece of filmmaking likely to be seen all year. It can also, every once in awhile, be tedious and trying.

Pigossi, star of the Brazilian Netflix series “Invisible City,” neatly avoids wallowing in Lourenço’s misery and instead finds a humanity one can root for. It’s a powerfully emotional performance that lifts all boats in this picturesque drama.

Bratton has made a film that isn’t necessarily anti-military — he is no doubt proud of his service — but pro-humanity. In a sense, Ellis is going through his own personal boot camp. Perhaps the film should have been called “The Introspection.”

The brilliance of Dark Waters is that it is able to lay out the case against DuPont without getting too wonky.

Will-o’-the-Wisp, a flight of fancy from Portuguese provocateur João Pedro Rodrigues, has a few ideas, a fun little musical sequence and quite a bit of eye candy. But it seems like a series of tonally different short films mashed together — an art installation rather than a movie.

An exquisite achievement.

Male loneliness and insecurity is a thing and the subject of much discussion in media. For me, though, there’s only so much cringe you can binge.

Ruiz has made the most ambitious adaptation of a Proust work yet.

Calaizzo’s script is sharp, funny and honest, and nicely avoids movie cliches about obesity. Bell’s performance is very good, both physically — the actress herself lost 40 pounds for the role — and emotionally.

Cause for celebration. It's not only a cracking good film, but it is the first by Taiwanese master Hou Hsiao-hsien to gain a national (though limited) release.

A guilty pleasure and one of the best films of the year.

Bong has an original vision and a distinctive style that’s not to be dismissed. He’s our era’s Terry Gilliam, where hope pushes through the tragicomic nihilism.

There’s one big problem about No Ordinary Man: The Billy Tipton Documentary: It’s not really about Billy Tipton. Instead, it’s about how transgender representation is perceived in the media, chiefly between 1989, when Tipton died, and current times.

Demon Slayer is sharply paced, colorful fun.

Ultimately, it is Ronan who transcends the material and almost wills “The Outrun” into something more than the sum of its parts. Her Rona is tempestuous and passionate, and soon discovers that to master herself she must surrender to nature.

Directed by the Oscar-winning Domee Shi (“Turning Red”), Alameda native Madeline Sharafian and Adrian Molina (“Coco”), the visually appealing “Elio” moves confidently and delicately handles themes of isolation, grief, family strife and friendship.

It’s not a cookie cutter superhero film or predictable horror film. That’s the good news. The bad news is that it’s form without enough content.

At 2 hours, 21 minutes, feels like a slow death by a thousand cuts.

Dungeons & Dragons: Honor Among Thieves feels like Daley and Goldstein, who also co-wrote with Michael Gilio, asked ChatGPT, the artificial intelligence chatbot developed by OpenAI: “Write a Marvel movie except with ‘Dungeons & Dragons’ characters.” Seconds later, this spit out.

The success of Felicia's Journey lies in the work of the steady and here understated Hoskins, who gives one of his best performances, and young Cassidy, who displays a weary maturity even through her deer-in-the-headlights character.

Obviously, sports fans will get the most out of In Search of Greatness. But there are self-help tropes for everyone.

This is an irresistible throwback to not only old-school horror, but old-school television.

Aided by the star magnetism of Yen and Tse, and back in his element on the colorful streets of Hong Kong, Chan goes out with both guns blazing.

Aside from its scintillating title character, Bobi Wine: The People’s President is valuable because it stands as a clarion call against authoritarianism.

There's not a whole lot to Waking Ned Devine, but it may be enough for those who like their quirky comedies from the British Isles - a burgeoning genre now - both atmospheric and gentle.

The intention is there, but the needed emotional maturity isn't.

There are some rumblings about the sea monsters wanting to express their true selves and being accepted by humans even though they are different, yadda yadda, but it’s not very well developed and Luca, like its charming village at low tide, is a shallow dip in the water.

A lean, mean, riveting back-to-nature horror film that flies through its thrilling 99 minutes.