Katie Walsh

It rings true and resonates as real even in its fantasies, because it is rooted in a place of authenticity, in subjectivity, in emotion, and in storytelling. And that is what makes a film like this work so well.

Retaining the creative forces behind the successful musical is the key to the movie musical’s success, as “Matilda the Musical” maintains the mischievous humor and the uniquely oddball sensibility of the stage production and book, delivering a wonderfully rousing screen adaptation anchored by superb performances.

Fargeat delivers a macabre, funny, tragic, absurd and grotesque Grand Guignol of butts and guts; a bonkers and brutal “beauty horror” that elevates the genre to a hysterically unprecedented heights.

An illuminating and often hilarious portrayal of the man and his myth, and those who surrounded him.

Potash marks time by the year until the last 30 minutes of the film, when the clock intertitles speed up with the many advancements in her situation, building to a breathless finish that will leave the viewer emotionally crushed and yet also hopeful and joyous.

The jump-scares in the fun, funny thrill ride that is “M3GAN” elicit more giggles than groans, but there are also intriguing connections being made on “M3GAN’s” motherboard, behind the glossy surface.

Stylistic choices could have undermined the film, but the story and revelations are so shocking and powerfully absorbing that The Skyjacker’s Tale rises above.

It’s a stunning showcase for the acting talents of the young ensemble.

As comfortable to slip into as an afternoon in the sun, as satisfying as a late-night piece of cake, Princess Cyd is a jewel of a film that plumbs thematic depths far below its surface.

If you’re willing to surf on the wonderfully weird and wild wavelength of Infinity Pool it is indeed a singular, and unforgettable, ride.

The craft is gorgeous, but The Color Purple would be nothing without its star turns, and Bazawule’s cast takes your breath away.

This gem of a film manages to draw together our questions about the universe and ourselves into one single adventure story that hits every emotional beat. It’s what Pixar does best, and “Elio” is another knockout, a quiet but determined shooting star that earns its place in the galaxy.

It is messy and it doesn’t totally cohere (just how those Beat forefathers liked it), but it does stick to a guiding principle of yearning, expressed in achingly poignant, unforgettable moments of sound and image.

For the majority of the run time, Bugonia is the kind of film you respect more than you enjoy, as the archness and absurdity of Stone’s character is too dissonant with the sincerity of Teddy’s sadness at the core of this story.

Wright's film is a beautiful and deeply empathetic depiction of this community, a portrait of Vanier and his philosophy of compassion as the source of true human connection, found and forged with those who have otherwise been cast out by society.

Escalante draws remarkable performances out of his cast of mostly newcomers in this film about the consequences of pleasure and the many meanings of flesh; where animal intelligence fills the void left by emotional disconnect.

DaCosta, who made her directorial debut with the remarkable abortion drama “Little Woods,” firmly announces herself as an artist at work with Candyman, a genuinely terrifying and artful horror film that speaks with a bell-clear voice to the current moment, the product of centuries of racist power structures.

The film’s affable nature and the sheer charisma oozing off Pine and Grant is intoxicating, but overall, there’s a sense that it doesn’t quite gel, the engine revving but never hitting the speed of which it seems capable.

This film is not an easy watch, provoking anxiety, discomfort and even judgment about parenting and motherhood. Her love for her son is never in question, but Grace is a wild animal, and it is at times terrifying to be asked to dive into the cracked psyche of a brilliant but troubled mind with such immediacy and presence.

Other scenes work better, like a joyous birthday party, and a school concert, and there’s an affability layered throughout Is This Thing On? that makes it more of a hangout movie about a tepid midlife crisis than forward-moving drama.

This beautifully crafted jewel of a throwback thriller signifies Okuno as a talent to watch, but furthermore, it pushes the viewer to question what, and who, we choose to believe and why.

Carpignano once again uses a tight, intimate character focus to take a wider look at larger political and cultural issues in this region. In the poetically, humanistically crafted A Chiara, he also manages to flip the Mafia movie on its head, and in doing so, challenges the mythology that keeps these shadowy systems in power.

Calamy delivers a beautifully open performance at the center of an utterly winning comedy about the most important journey a person can take: toward finding themselves.

Silverman is completely riveting as she tries and flails to do right, and her physical performance is remarkable: a change in her gait or expression signals the switch in her personality from human to addict.

In its uncompromising vision, it may not be for everyone, but it’s definitely the movie that Batman needed.

The film is a fine reminder of how cinematic language can and should transcend the spoken word.

The Menu is a tightly wound, sharply rendered skewering of the dichotomy between the takers and the givers, or in this case, the eaters and the cooks.

Writer-director Anders Morgenthaler's conclusion comes far too hastily and haphazardly, with a disregard for plot details or plausible storytelling.