Gary Goldstein

Although this well-acted film, which was Israel’s official submission for the 2022 international film Oscar, is a bit slow-going, it presents a timely, pointed, at times cleverly satirical snapshot of Israeli-Palestinian relations. It also offers an often poignant look at a dysfunctional family at the center of it all.

Le Guay effectively keeps the pressure on his characters and their loaded situation throughout, using ominous camera angles and anxious music cues to heighten the dread and uncertainty. He receives a fine assist from Renier and Cluzet, who commit to their divergent roles with unnerving intensity. It’s a terrific film.

If yielding to nostalgia often makes people recall a more affectionate and wistful version of what actually was, this stirring, evocative film likely will leave viewers haunted by what might have been.

It will be interesting to see what this capable filmmaker does his next time around with, hopefully, a larger budget and a few more objective voices helping to guide his choices.

There’s certainly enough potential mayhem, desperation and danger here (including the gangsters on Sang-hyeon’s tail) for “Broker” to have become a dark, propulsive action-drama, in another filmmaker’s hands. But Kore-eda focuses on — and mines — the grace notes, better angels and soulfulness of his characters in such lovely and relatable ways that we’re grateful for his humanistic, more empathetic priorities.

For its visual appeal alone it’s worth a theatrical visit ahead of its Netflix premiere next month.

Joyride is a jalopy of a film. This Irish-set story of a brand-new single mother and a precocious 13-year-old boy who end up on the road together is so scattershot and far-fetched it overwhelms its better intentions — of which there are many.

The docudrama Framing Agnes is a fascinating, multidimensional, mosaic-like glimpse at transgender life from the 1950s to today as interpreted by — and through — a group of transmasculine and transfeminine performers and creatives and one uniquely impressive academic.

Too much of the film (an official selection at 2020’s Cannes Film Festival and Colombia’s entry in the 2021 Oscar race) lacks sufficient conflict and an organic sense of storytelling.

Sr. proves a tender portrait and fitting tribute to an offbeat hero and creative pioneer.

Spirited, the umpteenth screen incarnation of Charles Dickens’ evergreen “A Christmas Carol,” is such an amusing, buoyant and good-natured entertainment that it’s not hard to forgive this flashy musical-comedy-fantasy’s missteps. Grinchy viewers, however, may sing a different tune.

My Policeman is an absorbing, resonant, deeply wistful adaptation of the 2012 novel by Bethan Roberts that will probably be best appreciated — stylistically, thematically, romantically — if judged more within the context of its mainly mid-20th century setting than by contemporary expectations.

Ultimately, and perhaps most beautifully, the film makes a case, à la the musical “Rent,” about how, in the end, we must measure our life in love. On that score, Eli Timoner left the world a very wealthy man.

Loving Highsmith is a well-intentioned effort; a respectable start. But perhaps a more definitive and dimensional documentary — or even narrative feature — about this singularly intriguing talent will still be made.

Specific as Ozon’s approach here may be (nothing feels accidental or arbitrary), his lovingly made curio, which often borrows verbatim from its predecessor, comes off a bit tired and trifling.

It’s an absorbing, affecting, well-performed look at several years in the life of Sara Góralnik.

Rise scores as first-rate family filmmaking and a worthy reminder that some dreams can and do come true — big time.

Don’t go into the immersive, observational documentary “Bitterbrush” looking for profound insights or roiling conflict but rather a captivating and meditative look at two intrepid young women surviving — and seasonally thriving — in a traditionally male-dominated field: cattle herding.

The documentary Fiddler’s Journey to the Big Screen is as wondrous, buoyant and heartwarming as the film it celebrates.

Director Peeter Rebane and his co-writer (and star), Tom Prior (they also produced), have created a compelling, tender, tragic, occasionally melodramatic look at forbidden love and desire.

For the chance to become acquainted with Salomon’s tragic and unique tale, as well as with her enduring output, this well-intended portrait is worth a look.

The Rose Maker is a slender but engaging tale about competition, cooperation and creativity.

Despite occasional dips in energy that usually coincide with the root-worthy characters’ own flailing moments, 7 Days remains a buoyant and involving jaunt.

This is a daring and memorable depiction of trauma, compassion and resilience.

[An] absorbing, entertaining and lovingly crafted documentary.

[A] lovely, deeply nostalgic tribute.

Deftly mounted, shot and scored, The Pact is a master class in ensemble acting, led by Neumann in a visceral, deeply layered and knife‘s-edge turn.

If only co-writers Paul Riccio (he also directed) and Jamie Effros (he stars) had dropped some of their story’s quirks and shaggy-dog bits for a deeper, more authentic dive into their main characters’ truer selves, the film might have taken off in a more distinctive and memorable way.