Gregory Ellwood

Only the combined talents of both Blanchett and Mara can make the film's powerfully realized finale work.

Outside of a few short moments in Ismail Merchant and James Ivory’s “Maurice,” and Ang Lee’s “Brokeback Mountain,” the love and intimacy between two male characters has never truly felt this real or emotionally heartbreaking in a theatrical context. It’s almost revolutionary. It’s cinematic art.

There are two things that make this movie stand apart: Metcalf and Gerwig.

Like any creative endeavor a film is the sum of its parts. In the most elementary terms it needs a screenplay as a base, a cast to bring the script to life and a director to orchestrate the pieces into something of considerable impact. Excuse the hyperbole, but Tom McCarthy's Spotlight is an example of when all those pieces fit together almost perfectly.

This is a film you can dissect for hours. A movie full of details and creative choices that will spur debate and passion. Another work of Glazer’s full of images that may haunt you for weeks. And well worth almost the decade it took to get here.

Despite what may initially seem to be a somewhat straightforward contemporary drama, Hamaguchi has crafted a rich, skilfully layered masterwork with flawless performances and a script that is a screenwriter’s holy grail. It sticks in your brain for days and nudges you to take it in again.

In terms of filmmaking prowess, "remarkable" may not do Laszlo Nemes' holocaust drama "Son of Saul" justice.

To say it’s a stellar feat of cinema is something of an understatement.

It’s somewhat remarkable a new work exists that sparks such conversation in the first place. Even if it doesn’t completely succeed, that’s art. That’s dynamic. That deserves your attention.

While Baker has proven his worth as a true cinematic auteur, his greatest skill has been guiding his actors to new heights wherever his stories may take them. You’ll have to decide if that’s enough to gloss over the rough patches this time around.

Reuniting with a majority of his “Ida” and “Cold War” collaborators, a 1:37 aspect ratio, and cinematographer Lukasz Zal’s masterful black and white compositions, Pawlikowski, whether intentional or not, has crafted a trilogy of films that chronicle the painful reverberations of the Second World War. With “Fatherland,” he’s also holding up a mirror. A reflection on today and, more likely, the near future. How will you treat those complicit in war crimes and humanitarian horrors? How will you grieve a world that is gone? Or will you grieve at all?

We’d be reminiscent to not admit this is the sort of movie that’s hard to shake. We haven’t been able to stop thinking about it since. Considering how rare that is, maybe that’s just as gracious a compliment as admitting to bawling while the credits roll.

The most remarkable aspect of Victor’s accomplishment with Sorry, Baby isn’t her wry sense of humor and deft observations about the inherent awkwardness of human social interactions (although it consistently pops). Instead, it’s how she emphasizes the seriousness of the events while staying true to Agnes’ unique personality.

Fox knows firsthand the events that occur to Dern’s character in her feature narrative debut because they happened to her. And beyond its creative success and failures, her willingness to tell her own story in such graphic detail is a startlingly brave act.

There is barely a manufactured minute in the film. Everything fits together organically and in a narrative film that is much harder to pull off than it sounds.

Despite a very frank and welcome illustration of gay sexuality rarely seen in modern media (in this manner at least), Greater Freedom continually teases us with storylines and subject matter by choosing to frame this era through a relationship that it cannot rationalize.

You believe this woman exists. And Leigh and Jean-Baptiste ensure she will haunt you.

What immediately comes to the forefront is that McDonagh has choreographed an almost impossible feat of a brutally dark comedy that, thanks to both Rockwell and McDormand, elicits an emotional response you simply don’t see coming.

Despite the efforts of Hopkins and an outstanding ensemble, Zeller can’t divorce his feature directorial debut from its theatrical origins.

Israel, as noted by her own writing, had a caustic wit that works with McCarthy’s comedic talents. She also brings a depth of emotion to Israel that comes to a head in a wonderfully composed scene with Grant at the end of the film.

For all of Heller's impressive direction, she could have delivered something soulless without Powley's contributions.

Room is simply a movie about mother and son trying to adapt to the outside world after years of forced captivity. And the surprise is how succinctly it captures this drastic life change from the perspective of five-year-old.

As with much of his previous work, Trier is masterful with delicate, humanist moments.

While Eisenberg is excellent on screen, especially during a dinner scene when he unloads his concerns over David to his fellow tourists, it’s Culkin who, rightfully, steals the film.

Amy also turns the camera back on the viewer who saw, mocked and ignored Winehouse’s descent as it transpired across the media landscape. How could the world collectively denigrate a woman whose addiction was destroying her? In this era of reactionary social media it’s a warning to all of us to be wary of stoning the next Amy in the digital town square.

The empathetic instincts of Sanders and his talented artists result in a tearjerker of an ending that may have you bawling.

Mudbound soars thanks to the impressive performances of the ensemble cast and, notably, Rees’ intent on depicting the harsh reality of this pre-Civil Rights era, warts and all.

While you know where “God’s Own” is going most of the way Lee finds a way to breathe new life into it (to a point).

Loznitsa and his creative team have been meticulous in how every shot plays out. And as hinted earlier, the entire motion picture is meticulous to a fault. It’s only a somewhat twisty ending that saves the endeavor from blowing its relevance away.

What this collection of bold artists has pulled off is a fascinating portrait of one man coming to terms with his own identity in a genuinely original way.

Haru’s journey is more soulful and heartbreaking than you may want it to be. And that somehow makes the magical moments even more endearing.

Throughout this journey across North Africa, Laxe peppers the film with moments that touch on pertinent themes such as the power of a chosen family, Western society’s naive self confidence when confronting the environment, and perhaps most poignantly, the fallacy that because we have so little control, we can dance away as the world crumbles around us.

A victim of a politically motivated jail sentence for supporting the 2022 Masha Amini hijab protests, Rasoulof‘s latest feature will likely anger the Iranian government even more. Especially considering how brilliant “Sacred Fig” is at deconstructing the rampant injustice in the totalitarian state.

Zhao has fashioned a masterwork that, once again, straddles the line between narrative and cinematic art in a manner few of her contemporaries can match.

Framed by fearless and charismatic turns by newcomers Bahraminejad and Mana and beautifully shot by cinematographer Ali Ehsani, “The Friend’s House” is a remarkable depiction of life in contemporary Iran that will haunt you for weeks.

What’s most remarkable about His Three Daughters aren’t the performances. As you’d suspect, Coon, Moss, and Lyonne complement each other perfectly (although we should note this is without question the best work of Lyonne’s career). It’s the fact that Jacobs and cinematographer Sam Levy have crafted a drama that takes place almost entirely in one enclosed space and somehow avoided the dreaded claustrophobic aesthetic that makes one feel like they are watching a filmed play.

At its heart, the film is a love story. A love story about two souls who need to trust each other if they want to survive.

Masterfully played by Annette Bening, Dorothea is a fascinating character of contradictions.

Jenkins has a vision and something interesting to say in Private Life, but it needs some serious editing to convey it succinctly.

When was the last time someone who has so mastered the stage – Baker is a Pulitzer Prize-winning playwright, mind you – crafted a directorial feature debut of such artistic confidence? A film that feels a million miles from the confines of a sterile theatrical setting. A movie that is creatively propelled more by a filmmaker’s eye than the words composed by a screenwriter.

In a vacuum, Langley’s true story is quite remarkable, but sadly, the elements don’t truly come together in this somewhat by-the-numbers film.

Lacorazza Samudio has pulled off a splendid feature directorial debut. Inspired by events in her own life and a sparse 90 minutes, the screenplay is layered but tight. The emotional beats are purposeful and not forced. There is a nuance and authenticity to the entire endeavor that is genuinely refreshing.

These recollections might be captivating on paper, but they become somewhat monotonous and uninteresting on screen.

Unfortunately, Cailley’s conventional cinematic aesthetic is also often akin to a contemporary streaming movie (the first thirty minutes or seem like a television pilot) and while the visual effects are solid, there are few images that will stick with you hours after you’ve left the theater. What saves “The Animal Kingdom” is the genuine horror over this happening to anyone (Cailley gets that right, at least) and Kircher’s fantastic performance.

The initial inspiration was clearly there, but the execution simply falls short.

As the pieces of Ghostlight continue to unfold, it becomes increasingly clear what a smart and moving narrative O’Sullivan has put together.

Lanthimos presents a fully formed original vision that hits a perfect tone even when the narrative begins to get away from him a bit.

Despite all of the film’s time jumps and questionable character motivations (and there are some), when it needs to, the filmmaking is completely ace.

Sorkin’s voice dominates the discourse and the film rarely has a chance to catch its collective breath. While you have to give the duo credit for attempting an unconventional structure, it’s a choice that arguably only works thanks to the contributions of a stellar ensemble.

The movie is genuinely funny. The characters are well rounded. Giamatti inhabits Hunham so well he could crack zingers in his sleep. Randolph knows exactly what she’s doing and Sessa is just green enough to avoid the affected young actor syndrome.

The film team is so strong and the direction so fine that it’s simply hard to believe this is actually Talbot’s first full-length feature film. And to detail much more would spoil the genuine surprise of their many on-screen artistic contributions.

Hou and cinematographer Ping Bin Lee (“Renoir”) produce some stunning images on location (one conversation takes place as a fog beautifully emits from the bottom of a valley), but it’s hard to find a thematic connection between the directing style Hou has chosen and the story.

From a narrative standpoint, Decker and her three writing collaborators have fashioned a reasonably compelling story. What makes the film transcendent is how she uses the art of cinema to convey it and Howard’s phenomenal performance.

Sicario starts and ends with Blunt’s impassioned performance (and she's spectacular in her final scene), but it’s Del Toro who is the real standout.

The actors are game, but their connection is more cutesy than romantic.

Dhont, who displayed an impressive artistic vision with his feature and slightly problematic debut “Girl,” has pulled off something miraculous with his sophomore effort.

Dunn demonstrates an impressive ability to bring his unique interpretation of the coming out process to life.

The film’s title isn’t just referring to the past, but what everyone involved witnesses in their communities everyday. By letting this fester and not confronting it dead on are we not saying we’re fine with being “barbarians’? It’s a credible question the filmmaker leaves you to ponder in private.

The power of Mungiu’s work is his writing. Like much of Eastern European cinema of the past decade, he’s crafted a morality tale that should prompt a viewer to take a look at themselves in the mirror wherever they may live. And if it ends without any hint of resolution? With barely a glimmer of hope? So be it.

The end result is often so insightful and entertaining that it makes you immediately wonder what subject matter Jefferson will tackle next.

Taylor-Joy also has to convey a tremendous amount of character arc in what is often a non-verbal performance (Miller recently revealed she only has 30 lines in the movie). No surprise, she absolutely kills it. But, miraculously, for a movie that doesn’t seem to leave the door open for further adventures, she’ll teasingly leave you wanting more.

Despite the melodramatic ending, you leave the theater wanting to root for the film and its characters.

Simply put, this is an expertly directed first feature. Clapin’s willingness to be patient as a scene unfolds, to let the hand experience the surreal images from its perspective, to let the quiet captivate the audience is beyond impressive.

Despite Davis’ lyrical direction, the obvious gaps in the screenplay provide too many holes for what strives to be a definitive portrait of an exceptional talent.

In the end, it’s a stellar turn from Sharp that dots the I’s and crosses the t’s when the tear ducts begin to flow. And you realize how marvelously constructed the whole endeavor is.

Ford v Ferrari is the sort of cinematic entertainment that sucks you in and won’t let you go until you cross the finish line.

When Shults soars under this structure, he composes some brilliant moments. When he falters, it seems like the movie doesn’t know where to go or when to end (if it even wants to).

Rian Johnson has seamlessly crafted another murder mystery with even more delicious twists and turns than the previous two installments. Maybe even combined. Somewhat hard to believe until you witness it for yourself. And, along with a slightly (and emphasis on “slightly”) more serious tone, the result is often smashing.

Despite Ben Hania sticking to her cinematic formula “Four Daughters” is genuinely hard to forget. It will linger with you for days afterward. That’s mostly due to Olfa’s heartbreaking perseverance to find her children and a wee bit of Ben Hania’s storytelling skill too.

Blank knows exactly what narrative territory she’s in and uses the dramatic conflicts at bay to make a number of decidedly funny and oh, so painful points.

The various marvels of the movie aren’t just the sparks between Redford and Spacek or Waits’ dry humor but often, Lowery’s inspired direction.

It is almost impossible, however, to watch Other Side Of The Wind without taking its history into account. That makes the final product uniquely captivating.

What Early, who also wrote the screenplay, has his sights on is the hilarious tropes of the movie-of-the-week genre. And he almost completely pulls it off.

Jia probably made a mistake directing the 1999 sequence in such an over-the-top and stilted tone (it also feels more like 1989 than the turn of the century), but the rest of the film is incredibly well done.

McKellen has been given a wonderful late-career gift in Steven Soderbergh’s The Christophers, a role that allows him to deliver one of his best performances in years.

Somehow, Gillespie manages not only to make it feel fresh but its own distinct chapter in this never-ending story.

Fukunaga not only directed the film but also co-wrote the screenplay and served as director of photography. His efforts have resulted in a brazenly confident piece of cinematic art where every image immerses you deeper and deeper into Agu’s horror.

The subjects of Kokomo City are quote machines, but their strength is that they make you listen to what they are actually saying and digest their opinions. Oh, no, they are not just here to entertain you. Points will be made.

What elevates Hustlers from an entertaining con job flick to something noteworthy is that the racket isn’t inherent to the story Scafaria wants to tell. Many filmmakers will say their film tackles female empowerment, but few do the legwork to make an integral and authentic part of the story.

At its heart, Twinless is a movie about loneliness. About finding someone to fill that emptiness, soothing life’s inherent anxiety. Whether a lover or a friend, they are often hard to find.

Like any good page-turner, Conclave is full of twists. Some you’ll see coming, and others will genuinely shock you. But this is smart, fiery melodrama.

It’s hard to recall a movie that leaves you with this feeling of genuine hope.

Lurker is the sort of film that lingers with you for days.

The third act often feels more like a cinematic exercise than a filmmaker who has something to say.

Assayas has often shown great wit in his screenplays (most recently in “Clouds of Sils Maria”), but there is a rhythm to his writing here that is surprisingly good.

Bornstein has fashioned a cinematic anxiety-fueled experience whether you can relate to having children or not.

Too many of the jokes fall flat and as the film moves forward you’re so captivated by the bizarre plot twists that recognizing the humor becomes secondary.

A bold dissection on aging and self-hatred Fargeat’s latest work is an utter visual marvel and features superb performances from its lead actresses; Demi Moore and Margaret Qualley.

Alfre Woodard may have graced us with the performance of her career.

It’s super funny, the performances are natural, and the whole endeavor is beyond charming. It’s a movie clearly meant to fit into the studio comedy mold, so it goes down easy.

Edgerton, who also wrote the screenplay, shows a masterful touch in playing with conventional expectations.

Hands down one of the best films of the year, Sebastian Schipper has directed a one-shot film that is truly a captivating cinematic experience.

This movie is Ferreira’s moment, and she rules.

Dense isn’t always used as a compliment when describing a movie, but in the case of Women Talking it’s a badge of honor. Polley is tackling numerous social dynamics among the women as well as a number of contemporary themes including women’s roles in society, religious freedom, sexual liberation, and even gender identity.

Something is missing from making it a knockout.

Dipping his toe into the not-so different motifs of Hollywood Westerns and telenovelas with a wink or two to some queer cinema classics, Céspedes has bold artistic aspirations.

This contemporary Japanese drama centers on the relationships between two vaguely thirtysomething women and two middle school-age boys. Two pairings that find a common connection in the most unexpected of circumstances. It’s the context of their attractions and the contradictions Fukada delicately presents that eventually beguile the viewer, even if his restrained aesthetic may test your patience getting there.

While the musical elements often take the movie to impressive artistic heights, it’s not just the storyline that ends up hindering Better Man.

The fact Tomlin is so good also highlights the film's biggest problem. Too much of what works in Grandma comes from the subtle touches Tomlin, Elliott and Harden bring to their characters, not Weitz’s script.

Margolin’s directorial debut is often super entertaining with just enough style and patience to avoid the trappings of a broad, studio endeavor. It also has a ton to say about senior autonomy, aging, ageism (two very different things), and the bonds between family members, young and old.

Despite Deakins and Mendes’ shorthand in framing gorgeous images, there are moments, especially in the second act, where the film could simply use a bit more energy. Luckily, for Mendes, Colman provides it soon after and when the movie needs it most.

Ewing makes a creative decision in the final act of the picture which simply sucks all the air out of the room.

Of course, you can also just enjoy Red Rocket for Baker and cinematographer Drew Daniels’ gorgeous twilight landscapes or Rex’s irresistible charismatic performance. Or laugh at Stabler’s exploits (although we admit, the film could genuinely be a bit funnier) or fall under Strawberry’s charm. Or you can see more.

Gambis, who is both a director and a biologist, has crafted a piece of art that captivates as much as it informs.

Cassandro isn’t here to cover every moment of Armendáriz’s life. And there are storylines, especially with his father, that neither Williams or his co-screenwriter, David Teague, can bring to a satisfying conclusion. But as a portrait of a man finding himself in his profession? Of celebrating his true self? It’s extraordinary.

A taught 91 minutes, September 5 is captivating on multiple levels and, frankly, a surprising success considering Fehlabum‘s previous work.

The filmmakers are beyond lucky to have the performances from Smith and Ellis, as well as Venus’ own incredible story, to keep you captivated when it matters most.

Overall, Manners’ feature debut is perfectly polished. Duggan and Clear are distinct talents who scream future stars (or, at worst, working talents for years to come). But as insightful as it all is as a portrait of those bumpy teenage years for young women, it does all feel a bit too familiar. Maybe even a little too safe and predictable.

Despite Herzog’s efforts to keep it as entertaining as possible, “Inferno” does feel like it overstays its welcome a bit. That being said the access and footage they’ve compiled coalesces into a truly cinematic experience. One that would be hard for anyone else to even fathom attempting to duplicate.

Unless you have truly transcendent performances or unforgettable cinematic moments, it’s difficult for this genre of sports story to really throw a unique punch.

Cedar’s smart dialogue and direction lift Norman: The Moderate Rise and Tragic Fall of a New York Fixer (hereby just referred to as ‘Norman’) above expectations.

Baumbach has cast a wonderfully talented group of up-and-coming actors around Gerwig and Kirke, but it's the screenplay and the leads' incredible chemistry that makes it all so entertaining. There are so many one-liners that you miss because the previous line of dialogue is just as smart and laugh-inducing.

There are definitely some logical gaps in Ford’s screenplay and perhaps the consequences could be slightly more dangerous (intriguingly, guns barely appear throughout the proceedings), but as a filmmaker, he displays a keen awareness of racking up the tension when necessary and not overdoing it when it’s not.

Colangelo’s adaptation continually feels like it’s missing something.... Luckily though, Collangelo has Gyllenhaal, who is exceptional at times here, to carry it through.

As Love Me unfolds, it becomes an exercise to explore how very human emotions affect evolving artificial intelligence beings. Although referring to it as an exercise sounds unfairly cold. The movie is certainly not that. Both Stewart and Yeun bring passion to their characters. . . But something feels off.

[Kurzel's] depiction of the action scenes is as close to a filmmaking tour de force as you can get. Even for those who know the fate of The Order and its members, Kurzel and editor Nick Fenton will keep you riveted. Until, alarmingly, they don’t.

Sauvage captures the multitude of emotion or lack of, that come with Leo’s tricks. There’s jealousy, pain, excitement, cruelty and even monotonous apathy where you’d least expect it.

What Blair is trying to do is quite ambitious for his first feature. He alternates moments of high comedy with serious tension and a touch of magic realism for kicks. For the most part, the tone works.

Somehow the filmmakers found lightheartedness and – gasp – laughs in a story of political intrigue at the top of the notoriously buttoned-up Catholic Church.

Reitman is often at his best when he can join forces with an exceptional actor, and Theron once again helps with the heavy lifting.

What’s strikingly revolutionary in Pleasure is how Thyberg’s gaze provides Bella’s story much-needed context by embracing the mundane aspects of this particular world.

Few would argue that Oldman isn’t one of the finest actors of his generation, but this is a tour de force portrayal that will define his body of work for decades to come.

Yes, you’ll likely leave the theater blown away by Casal and Diggs’ considerable talent, but its Estrada’s vision that will haunt you.

The characters are so well drawn (and the relatively young cast steps up to the plate) that combined with the material’s natural tension you’ll find yourself riveted to the proceedings.

As a filmmaker, Walker-Silverman’s talents are letting a narrative unfold without pretense or melodrama. When the events are this powerful you don’t need to ratchet up the stakes.

While the filmmaker has a better grasp on conveying well-staged melodrama than many of his contemporaries half his age (Fabio Massimo Capogrosso’s score and Francesco Di Giacomo‘s cinematography assist), the heart of the story somehow still gets lost. Even a final scene that should capture the tragedy of this tale falls surprisingly flat.

There are elements of “The Yellow Birds” that should equate to a unique cinematic experience. Unfortunately, like Bartle’s return home, you leave the theater somewhat dazed, confused and thinking of what went wrong.

In the hands of another filmmaker, these events could be the sparks of loud and fiery confrontations, but Simón insists they play out in a grounded, quiet fashion. There is barely a hint of melodrama, even when you can sense the tension amongst the siblings and their parents.

Thankfully, the film has Jamie Foxx on the bench in a truly funny and passionate turn as legendary lawyer Willie E. Gary.

Ultimately, not only has Park crafted an often hilarious and entertaining coming-of-age movie, but a surprise tearjerker.

In the end it’s really Eastwood who makes sure the film transcends the typical biopic tropes. At a spry 86 it’s unclear how much longer he’ll remain behind the director’s chair, but “Sully” proves that with the proper material and actors he can still stir emotions with the best of them.

Over the course of three and a half hours, Bang both refutes and affirms the criticisms over working conditions for these workers, many of whom are migrants, traveling hundreds of miles (or more) to make money for their families back home.

It’s no shame that this thriller isn’t even in the top pantheon of Lee joints, as he refers to them. The man has some masterpieces on his resume. It might be in Washington’s, however. He’s so viscerally engaging that you want to see the movie again just to enjoy his performance.

The storyline is so predictable, in fact, that despite Lafosse’s skills at crafting a scene the narrative simply leaves you wanting. The actors, on the other hand, carry most of your attention because they simply have to.

Admittedly, Utama is a simple story, but one that packs an emotional punch without endless exposition or symbolism.

The movie has its issues. . . The wrestling though? The action in the ring? Durkin’s direction of those classic matches? It often looks more “real” than the WWE or professional wrestling you see on television today.

The picture is genuinely entertaining and moving, but the fact it even exists in the first place is something you simply cannot dismiss.

What’s often most striking about Inside Out 2, however, is how the arguments and conflicts between these emotions often feel as though they are speaking directly to the adults in the audience.

What there is, however, is Nasibullina and she makes you root for Velya despite all the character’s faults

It’s a subtle and poignant performance that makes you eager for Richardson to have an even bigger spotlight in he next endeavor.

Honey Boy may center on the impressive portrayals of three talented actors, but it’s the woman behind the camera that makes it soar. You simply can’t wait to see what she does next.

Disappointingly, and despite the best intentions, Durham’s overwritten script diminishes some potentially truly moving moments over the course of the picture. There is simply too much clunky exposition.

The conflicts are obviously real, but there is something about the tone that’s just off through most of the picture.

It becomes pretty obvious early on that CODA is one of those movies where you know where the story is going pretty much the entire time, but the elements harmonize so beautifully it still sucks you in.

You wish the film had a slightly more queer eye behind the camera (yes, that’s a genuine thing, Andrew Ahn’s “Fire Island” is an excellent recent example). Even for a major studio production, it might have helped. But if everyone around you is laughing, maybe it doesn’t matter. It probably means another Bros gets made which, hey, wouldn’t be a bad thing at all.

The problem with Dosunmu’s follow-up to the more compelling “Mother Of George” is that there is so little story — and what story there is moves at such a snail’s pace — that all you have to look at are Young’s impressive compositions and then you wait…and then wait some more.

A slightly bumpy two hours of storytelling, but it's peppered with wonder and unexpected humor.

Where it surprises is in Bell’s fantastic performance and the fact it eventually stops becoming a laugh out loud comedy. It soon dives into much more of a heartwarming drama with a few random jokes thrown in.

Nine Days is the sort of original cinematic art that, these days, is few and far between.

The Outrun begins and ends with Ronan. There are very few moments in the movie where she isn’t on screen, and to say she’s up for the challenge is an understatement. It’s a very strong performance and, somewhat impressively, not as showy as you might expect given the material.

If not for Sareum’s charismatic performance the film might fold like a house of cards.

When Arco comes to its inevitable “E.T.” Inspired conclusion, the wondrous score by Arnaud Toulon may have you this close to shedding a tear. And you’ll wonder if this future is truly only an animated dream.

Youth has some significant points on frustration of fame, ageism and our natural inclination to lose perspective, but it’s primarily about finding peace and happiness in your life. That may sound painfully obvious. It may even sound cliché. But somehow Sorrentino is able to fashion the film's diverse elements into an emotional narrative that makes it all feel fresh and new. And that’s truly worth celebrating.

Make no mistake; there is no disputing this is clearly one of Marvel’s better efforts. And, yes, attempting to break from the expected shackles of a lineage of other origin movies is difficult, but you still feel the formula straining at the core of Doctor Strange.

As the story progresses it becomes less and less interesting and worst of all – gasp – cliché.

It goes without saying that Lambert’s skill at stating the film’s surreal moments is genuinely impressive. She collaborates with cinematographer Dustin Lane and art director Robert Brecko to stage images that stick with you long after you leave the theater. But, outside of a showcase moment for Ridley in the movie’s third act, there isn’t much else that does.

The movie feels like a cinematic palate cleanser the closer it comes to its inevitable ending.

The film’s saving graces is not only Ahmed, who, as you’d expect, elevates the material every chance he gets, but his on-screen connection with Chauhan. Somehow, the relatively unknown Canadian actor gives one of the best performances from a young actor in recent memory.

As always, Lelio has a way with his actors. Nothing will ever feel forced. Even the most melodramatic stakes will feel grounded. And yet, despite a pointless framing device the film simply does not need, it’s missing some of the visual magic of his earlier films.

Beyond the performances, this new “Macbeth” benefits from Kurzel’s inspired eye, the increasingly impressive talents of cinematographer Adam Arkapaw (“True Detective”) and Fiona Crombie’s period-loving production design. The world they have created for this tragedy may overwhelm, but it's certainly impossible to forget.

The result is a drama full of intriguing ideas, and one unexpectedly memorable performance, that is often more obvious than it wants to be.

The movie lives and dies, however, on Ingrid herself and, remarkably, Plaza finds a way for you to root for her even when she crosses line after line after line.

Many moviegoers may think they already know a good deal about Hawking’s achievements, but they would do themselves a disservice to miss out on Redmayne’s almost perfect performance.

The chemistry between Patel and Hardy is often divine, and the latter delivers such a layered and charismatic performance you’re with it till the end.

The best news is that the songs, by Galvin, Gordon, Lieberman, Platt, and Mark Sonnenblick (“Spirited,” “Lyle Lyle Crocodile”) were written beforehand. Those compositions contribute to the one-time-only musical performance that practically saves the movie. The songs and staging of the show are simply hilarious.

It’s not acknowledged enough how difficult it is to make a period piece that doesn’t feel staged or performative. Nichols genuinely captures the spirit of this particular era and keeps your attention even if you never gave a second thought to those packs of bike riders passing you on the highway.

There is a faith that the story and characters will keep the audience engaged, even if there isn’t a bright and shiny thing to distract them in a every single scene.

Despite a fantastic performance by Fares (and a stellar score from Alexandre Desplat), “Eagles” doesn’t have the emotional gut punch you’d expect. But you believe that everything Saleh depicts can or will occur, and that’s an achievement in and of itself.

Regrettably, any sympathy the film has mustered is diminished by at least three, maybe four, additional endings that are frustratingly superfluous. These never-ending epilogues add nothing to what has come before it and, in many ways, curtail any emotional heights the film has garnered to this point.

We’re not sure there will ever be another “Devil Wears Prada” installment, but be glad this one came along. At worst, to reinforce that shining memory of the original, at best to simply delight you for two hours. Hey, it might even be an improvement on that first flick.

Even at its most unwieldy, Audiard’s cinematic skill and Zoe Saldana‘s at times dazzling performance make it hard to ignore.

It’s simply a very well done movie that features Maggie Smith’s best work in years (and, yes, she’s better here than any of her years on “Downton Abbey”).

The combination of Thompson’s sharp delivery and Kaling’s commercially friendly script make the film’s charms hard to resist.

At its best, a welcome addition to the increasing number of contemporary Native American stories seen in the films such as “Songs My Brother Told Me,” “Wild Indian” and FX’s “Reservation Dogs.” At worst, it’s a disjointed narrative that sadly overstays its welcome.

Trier is far too talented for there not to be some good things here, but it just doesn’t add up to much.

Ultimately, the biggest disappointment with “Relay” isn’t the big twist, you see that coming a mile away. The issue is the execution of everything thereafter is almost comical.

While the entire cast is superb, it’s the rich performances from Watson and Mescal who elevate the material beyond that aforementioned air of familiarity.

Where Akhavan succeeds is whenever she has the kids doing things teenagers would be doing.

That bond between Hiccup and Toothless, mostly thanks to Thames’ impressive commitment, with that Powell score thrown in for good measure? Heavens, it’s simply glorious. And just like the original, you’ll want to experience it all over again.

The fact Pusić is able to pull off such complicated visual effects with her actors in scene after scene while keeping her chosen tone is extraordinary for a young director (not to mention the confines of a relatively independent film budget). This sort of world building would absolutely falter in the wrong hands.

Boy Erased has problems depicting the fear, intimidation and psychological trauma such programs can inflict on even the most willing of participants. But that’s likely because, at its core, the film isn’t really about the gay conversion experience.

Malcolm Washington, Denzel’s youngest son, has his own secret weapons to assist him in his feature directorial debut. The first is a scintillatingly stellar performance from Danielle Deadwyler. The second is Washington’s impressive artistic vision which proves that a love of cinema truly does run in the family.

Cranston has his moments and you have to laud his attention to detain in channeling Trumbo’s unique voice and mannerisms. Unfortunately, he’s so committed that his character borders on being a caricature.

For the most part, One Life is chronicling very familiar WW II territory. It’s not difficult to prompt genuine tension from these horrific events, but Hawes’ depiction of them is simply too conservative.

While the film elegantly considers the relationship between Feña and their father in the third act, it still feels like something is missing from that aspect of the picture. Especially after Feña’s anxious build-up to his arrival.

His film feels more like a collection of wonderfully envisioned set pieces that don’t fully form a coherent whole.

Outside of the Berg’s incredible depiction of the Deepwater’s destruction and the escape of a majority of its crew, the picture also benefits from two fantastic performances by Wahlberg and Rodriguez.

Overall, “Fighting” works thanks to Merchant’s witty screenplay, Pugh’s transformative performance, Vaughn’s inspired off the cuff one-liners (likely improvised) and a cast that clearly respects the Bevis family story.

Despite Depp’s seemingly flawless efforts, less may have been more in conveying just how bloodthirsty Bulger was. Where “Mass” excels is with a stellar cast whose spot on performances keep your interest as the film moves along.

It’s one of those well-intentioned efforts that feels inherently too safe. There’s nothing wrong with that, but Roher teases that he knows he could reach higher.

As always, Dinklage is exquisite in a mostly silent performance that conveys the pain and survivor’s guilt Del has bottled up inside him following the incident.

Sarnoski is working on an auteur wavelength. He often lets the momentum stagnate just enough so the viewer can truly take in the staggering annihilation of a city now in ruins, full of death, and inherent quiet beauty. None of this would come close to fruition, however, without Nyong’o and Quinn’s stirring performances.

Both actors are superb, but the problem is that history isn’t really on their side. The incidents depicted in “Saipan” were dramatic in 2002, especially in the sports arena, and to a fixated Irish public who took sides. But two decades later, it all lands with a thud.

The film’s saving grace, as you’d expect, is Domingo. He conveys Ruskin’s inherent natural charisma so perfectly that no one will finish watching this film and wonder how such a flamboyant man became such a powerful figure in this homophobic era. Domingo’s performance makes you believe.

Considering how much screen time they share together, Lister-Jones and Pally need to have fantastic chemistry to keep the audience rooting for Anna and Ben and, luckily, they have more than enough.

The movie wants to make a statement about the intersection of art and family, but it’s all too muddled to add up to anything that astute.

Sadly, even with the contributions of four screenwriters and the still underrated talents of Byrne...it simply doesn’t work.

Herzi’s directing skills have showcased her talented cast. Her slick aesthetic has given the tale a needed polish. But will the rest of it stay with you? For someone, somewhere, in a similar situation, if they can find a way to see it, it no doubt will.

Thankfully, Drucker has enough charisma to hold your attention in even the most mundane moments.

Magee’s script doesn’t always give them enough material to play with, but Corrin runs with it and, most impressively, with a freedom that totally clicks with de Clermont-Tonnerre’s sensibilities. And yet, when the credits roll it feels like something is missing and, well, you somehow wish they’d pushed it even more.

Along with some truly breathtaking visuals, the pint-size Ochi is the best part of Saxon’s long-in-the-works opus.

O’Brien has never had the opportunity to play such a sketchy, dirty character before and utterly kills it. This is the sort of performance that make casting directors take notice.

At no point in Patti Cake$ is there ever a hint that Macdonald is unable to legitimately rap. She’s simply a revelation.

How many times have you read that it’s really hard to duplicate the success of the first film in a sequel? Probably more than you can remember. Well, here’s a newsflash: Guardians of the Galaxy, Vol. 2 pulls that feat off with only a little strain and a belly of genuine emotion.

Phoenix is almost otherworldly here. It’s his charismatic performance that often carries the film through its repetitive moments as he expertly takes Callahan on an emotional roller coaster filled with the highest highs and the lowest lows.

At almost two-hours Worth somehow feels almost twice as long. Granted, we understand it’s a cliché to describe a film in such terms, but Colangelo and Borenstein are trying to cover too much ground that is, for lack of a better word, repetitive.

Watts co-wrote the screenplay with Christopher D. Ford (“Robot & Frank”) and, frankly, it’s not as clever or compelling as it wants to be.... The filmmaker does deserve credit, however, for conjuring up some nicely tense cinematic moments.

There are moments of genuine magic that make you wonder what this movie could have been. But do they linger like that imaginary friend you’ll never forget? In this case, perhaps not.

While Leigh transports you back to 1819 through these rich characters, he simply tests the audience’s patience in getting to the heart of the story. There is an abundance of formal speeches and long monologues in the film, and they are often arduous and repetitive.

Coppola packs a lot into the film’s 85-minute runtime, but in many ways, the complete experience feels like a slight tease. There is more to explore. There are other portions of Shelly’s life or Coppola’s increasingly poetic perspective of Vegas itself that are calling. But some moments overcome the film’s thin narrative facade and not just Anderson’s triumphant climax, either.

There is drama in the source material for sure, but maybe a little more style could have helped elevate this moment in history for the masses.

This version of Cyrano feels less fresh or contemporary than it wants to be. Something is missing either in the songs, the staging, or, more likely, the screenplay. That being said, the core story will still be compelling to many as it has for over 120 years.

Considering Redmayne’s achievement it’s almost shocking that you can argue Vikander gives the more memorable performance.

To say Blanchett is good here is a grave understatement.

It's good stuff and, in a perfect world, will prompt Hollywood execs to take Winocour's directing skills very seriously.

Mielants and Porter end the film in a manner that is almost offensive to the audience. This isn’t about providing a spotlight for kids with behavioral issues or the professionals who commit their lives to them; it’s melodrama for melodrama’s sake, with an awkward attempt at a “happy ending” that is borderline cringe.

This may feel like familiar territory to another U.K.-set disaster film, “Children of Men,” or the recent mini-series “Station Eleven,” but Bellow has crafted something singular here. And you won’t forget it.

While Bening is incredible playing a fading Hollywood starlet in Paul McGuigan’s Film Stars Don’t Die In Liverpool, it’s her co-star, Jamie Bell, who might be the film’s real secret weapon.

What truly elevates Plainclothes in this genre are the contributions from Tovey and Blyth.

Yes, Jackman’s impressive portrayal of Hart is at the center of “The Front Runner” (it’s one of the best performances of his career), but Reitman uses a large cast of characters to give depth to the events in question.

Carousel is another entry in a run of magnificent Jenny Slate performances.

Dominic Cooke’s Ironbark is blessed with fantastic turns from Benedict Cumberbatch, Jessie Buckley and Rachel Brosnahan to up the stakes and make it all feel a bit fresher than it actually is.

All that being said, the songs are impressive enough that it’s not hard to envision “The End” becoming something of a cult musical. Five years from now, maybe less, some excited college freshman is going to convince the head of their college drama department to let them put on a stage version of this musical. And chances are, it will be a smash. This is material that, with some editing of its book (er, script), a spotlight on the songs, and natural physical intimacy, could flourish on the stage.

Bale and Pike are superb. Despite some melodramatic tendencies and strange choices in Cooper’s script they make you have sympathy and compassion for each of their characters.

Much of the success of the film is due to the four leads who seamlessly work the one or two outrageous moments into the story without resorting to over-the-top characterizations.

All the actresses do their best with the material, but only Mulligan truly transcends its limitations.

It’s all fun and murder games (until it’s not), but something is missing. “Maxxxine” feels a bit emptier than the first two installments. Goth is quite good at reprising the role, but Maxine is sort of already a fully-baked character.

It often seems as though Hikari is being pulled toward a prespective that is simply not Japanese enough to provide a true cultural perspective. But, more importantly, Hikari knows how to push enough emotional buttons without the audience sensing they are being manipulated. And, for many, those talents mean Rental Family will lead to genuine tears.

While the kids are pretty fantastic overall, it’s the collaboration between Brill and Bonilla that takes Heller’s screenplay to another level.

It’s well crafted and compelling at times thanks mostly to the casts’ efforts, but there is an emptiness that permeates through the film as if a significant piece of Wilde’s demise is missing.

Orley’s direction is fine, and the picture is well made for a low budget indie, but Davidson is all you’ll really remember when you leave the theater. And for many, that’ll be enough.

A somewhat cool robot does not make a movie. ... The eventual twists aren’t that surprising and don’t really make sense in the context of even the film’s most basic world building.

A deceptively dense piece of work filled with moments that articulate the complexity of the human condition.

Heavens, that masterful first half of filmmaking. That quiet, subtle love affair. That charismatic pairing between Mescal and O’Connor, which, for a moment, feels like a cinematic romance for the ages. Oh, I’ll pay a ticket just to experience that again, absolutely. But just that. Just that.

For every scene that doesn’t work there is another that’s spellbinding. It’s gutsy and provocative and, frankly, that’s a compliment you can’t give many independent films these days.

Foster is so good you’re often rooting for Stoll to succeed more than Nyad. And sometimes a performance like that is all you need for a feel-good story like this one.

If there is any saving grace to “Horses,” beyond Luc Montpellier‘s often painterly cinematography and Jeriana San Juan‘s superb costume design, is its commitment to chronicling this era of hidden queer love.

You can certainly respect Sharpe for taking a big swing in this regard, but he can’t bring the proceedings back to earth when the audience needs some sort of emotional investment. This also ends up hampering Cumberbatch, who is giving one of the most committed performances of his life, but only to find it buried under all of the film’s extracurricular aspects.

What’s most disturbing is Jackson’s pedestrian direction has resulted in a film that barely recognizes how powerful this is in contemporary society.

What’s fresh and compelling are Wilde and Hoffman. They are so stellar together that the film’s multiple endings work because they are front and center in them. In the end, almost despite Araki’s efforts, they make having “Sex” worth it

California Schemin’ is an impressive calling card that suggests McAvoy shouldn’t make this project a one-time wonder.

“Five Foot Two” is mostly about a woman pushing forward with her career in pain, and we’re talking chronic literal pain.

The film’s inherent problems, however, are two fold. First, the third of the picture is an absolute slog. The Zellner’s may have though this was a creative choice to make the comedic scenes funnier when they finally hit, but it simply doesn’t work. Second, the funny bits simply aren’t as funny as they should be.

Beyond its subject matter one of the reasons Scoop is genuinely compelling is Philip Martin’s direction. The pacing is brisk, but not rushed. And time and again, “The Crown” veteran smartly lets his actors play to their strengths.

There’s a line for an audience between conveying the true horror of what occurred and being excessive and Maras barely avoids the latter.

When the film works, it’s often because Banks confidently carries so much of it on her own shoulders.

Sure, Vikander and Olsen are superb as Mia has to constantly stop herself from wringing Virginia’s neck, but the whole endeavor increasingly feels flat.

Hammel has talent and something to say that’s worth paying attention to. There’s a spark of something there, eventually. It’s a little messy, but it’s definitely there. It also just might take a while before you want to hear it.

Considering the entire film takes place in the confines of the school building, it’s a testament to Tøndel’s direction and Reinsve’s enthralling performance that the film avoids feeling claustrophobic.

It goes without saying that Cranston has a lot to carry on his shoulders and he does an admirable job. It’s hard not to laugh every so often at one of Wakefield’s snide remarks and that’s effectively because of how Cranston sells it. But even this accomplished actor can’t make you feel any sympathy for a character whose actions defy convention in the most unimaginative ways.

For a feature debut, Una is bursting with exceptional confidence and style. The aesthetic is Jonathan Glazer meets Andrea Arnold and it assures that some of the script’s more staged scenes hold your attention.

When Kusuma, Kidman and Destroyer finally kick it into high gear it’s so, so worth the wait.

Honestly, you almost wish Singer had the foresight to ensure everyone involved took the proceedings completely seriously. That might have resulted in a camp classic that would be more memorable than this often aimless and thematically thin endeavor.

No one would deny Sisto clearly has a vision of what he’d like to accomplish and shows flashes of humor here and there, but the almost overt influences of any number of other filmmakers (Michael Haneke, ‎Yorgos Lanthimos, and Sean Durkin immediately come to mind) have the cumulative effect of making the proceedings feel numbingly familiar.

Institutional corruption has been a centerpiece in Romanian film, especially over the past two decades. It’s no surprise then that Emanuel Parvu‘s Three Kilometers to the End of the World is driven by that narrative even when it’s not the most compelling part of the story.

Karia has Ahmed’s impassioned performance, one of his best, a committed and talented cast, often stunning visuals from director of photography Stuart Bentley, as well as his own imaginative staging to captivate the viewer.

The contemporary allegories are obvious, but too much of Vanderbilt’s screenplay gets lost in literal card tricks and heightened melodrama.

Apologies in advance, but for lack of a better descriptor the whole thing is a mess. It’s not even good enough to be a cult movie which is backhanded compliment anyway. But, hey, at least the actors tried.

This is a swinging-for-the-fences with the bases-loaded type of movie. An irreverent monster of a film that leaves you buzzing. We’re talking “cinema,” baby.

If the movie only serves as an appetizer for Liminov’s fascinating life, that’s something, I guess.

Beyond Reitman and Keenan’s tight screenplay and a fantastic recreation of Studio 8H from production designer Jess Gonchor, the movie would not fly without an ensemble that may end up being legendary in its own right.

Simien’s strengths come to the forefront once again and that’s what makes it so difficult to pinpoint why the final product doesn’t exactly gel together as it should.

It’s a marvel that Bennett crafted this screenplay almost at the age of 90. And his dialogue is often sharp and witty. The scenario is ripe for a captivating and moving drama. And yet, perhaps this was one project that needed a different director at the helm for the material to truly resonate.

A hodgepodge of a story that only really works when Glaisher and Wren are in the sky. And when they are it’s absolutely gorgeous.

While Bercot's intentions are admirable, she and co-screenwriter Marcia Romano have conjured up too many moments that play out like thousands of courtroom scenes you've seen before.

Demange, who earned glowing reviews for his debut “’71,” tries to guide all these plotlines and characters with a steady hand, but it often feels too unwieldy. There are simply too many storylines and threads competing with each other. The result is a movie that it feels like snippets of a life instead of a portrait of one.

As Coppola teases Jacobs’ brilliance over the decades, you realize he may not have gotten his due as one of the most influential designers of the past 50 years. He may have been taken for granted both inside the insular fashion world and by the public at large. And, at worst, you just hope sometime soon, another filmmaker tackles an extended film or docu-series about him and really gives him his due.