Guy Lodge

Master Gardener is all fingers and thumbs for much of its running time, kept sporadically in order only by the stern, trusty presence of Edgerton himself.

It didactically calls out governmental hypocrisy while exposing corrupt elements and inefficiencies within the precious institution itself. It hedges its bets politically between nostalgic keening for a kinder, fairer Britain of old and advocating for a top-down socialist makeover. It wavers tonally between cozy comedy and head-on polemic.

Layering one wild formal flourish over another — from macabre stop-motion animation to elaborately choreographed musical fantasies — to channel the inner lives of two young women who communicated only with each other, keeping the rest of the world outside their circle, it’s a swing for the fences that sometimes, almost by design, spins out of control.

The film demonstrates its director’s characteristic nose for strong material and knack for gripping, straightforward storytelling.

Koji Fukada’s Love Life unabashedly embraces melodramatic contrivance in its examination of modern middle-class love tested as much by social prejudices as by personal demons; it just does so with such pallid, polite reserve that its sentimentality never becomes transcendently moving.

The result feels closer than any of his previous films to the barbed, intimate lyricism of McDonagh’s work as a playwright, and more deeply, sorrowfully felt to boot.

That Argentina, 1985 managed to toggle between such emotionally raw material and more amped-up, tension-driven subplots — as Strassera and his family weather death threats and cars explode in public squares — without seeming callous or dramatically opportunistic is a credit to Mitre, whose grasp on his story is high-key and emotionally immediate, but never glib.

The final film is elegant and empathetic, but never quite emotionally involving: For all its rich, heightened articulation of a woman’s distress and unrest, the sense of a life being academically magnified under glass never quite leaves the endeavor.

Faith is as disciplined and intriguingly opaque as the men and women it studies, attempting to unlock the nature of the group through mesmeric observation of routine and ritual.

For anyone who’s forgotten the extent of van Houten’s skill set, actress-turned-filmmaker Halina Reijn’s impressive, icily disciplined debut feature Instinct provides a fearsome reminder.

Joyride needs some deft actors driving it, and it has lucked out: An up-for-anything Olivia Colman and scrappy newcomer Charlie Reid make for an unlikely but appealing buddy duo.

This glossy but gloopy Netflix original is primarily out to serve its leading lady’s legions of fans, some of them perhaps young enough not to have seen it all before.

Effectively piling nostalgia upon nostalgia upon nostalgia into a triple-layered Victorian sponge of particularly English sweetness, this good-natured, resolutely old-fashioned film will likely make any adults who grew up on Jeffries’ original a little misty-eyed.

The film is undeniably overlong, and far more engaging in its first half, which covers Ferragamo’s hard-up Neapolitan beginnings and lively career as a shoemaker to the stars in 1920s Tinseltown with a mixture of romantic evocation and chewy historical expertise.

At two hours, rather intricately stuffed with subplots ranging from frivolous to grimly consequential, “The Good Boss” struggles to pick up the pace when required: The laughs are there, but more spaced out than they could be.

A quiet, tightly wound horror film, Bass’ fourth and most briskly accomplished feature might flirt with the supernatural, but finds terror aplenty in social dynamics that, to many a South African, are perfectly ordinary.

Braiding the reflections of nine variously affected individuals on the subject, David Henry Gerson’s film successfully keeps the big picture and the smaller canvas in conscientious balance, disrupting overwhelming tragedy with more hopeful flashes of invention and inspiration.

It’s a modest film with a heart very much on its torn sleeve, given force and ballast by another fine dramatic turn from the hard-working Virginie Efira.

The film’s formal flourishes are modest, centering the actors ahead of all else.

Pacifiction is a film in many ways about floating, through life and water and power, inviting the viewer to idly drift right along with it.

Inspired by the life and roots of her children’s father, Serraille’s original screenplay embeds tacit, national-scale socioeconomic commentary in its intimate domestic story, though smartly avoids making blunt symbols of its sharp, specific characters.

Even in its more generic stretches, Martone’s latest feels both inviting and convincingly inhabited, a siren song to the past that confronts us with a violent, unromantic present, paved under with the same old, blood-washed cobblestones.

Trish is the plum part here, and a sensational Qualley — cycling through a ragged thrift-store wardrobe, with a lavish halo of dark curls that can’t help but recall her mother, Andie MacDowell — grabs it with both callused hands.

Alice and Louis are such artificial, wanly self-absorbed characters, forever speaking in finely turned, therapy-honed aphorisms that never sound anything other than screen-written, that it’s hard even to invest in their conflict at an abstract level.

Aftersun thus works elegantly as a kind of dual coming-of-age study, perfectly served by Mescal’s signature brand of softboi gentleness — here shown maturing and creasing into more hardened, troubled masculinity — and the vitality of Corio, whose deft, lovely performance braids both authentic exuberance and a girlishness that feels more performed, as if for the benefit of her dad.

It knows the fragility of quiet, which is sometimes the sound of inner peace, and sometimes, per that Prévert poem, the echoing unrest of an empty space.

In this witty, windblown modern fable, man, nature and machine get to take turns being the enemy and the savior.

As a portrait of sisterly trust, obligation and estrangement, and the difficulty of carrying familial dependencies into adulthood and beyond, the film is measured and thoughtful, lifted by performances of characteristic sensitivity by Alison Pill and Sarah Gadon.