Kyle Smith

It’s easily the most effective work of horror I’ve seen this year.

The direct, intimate way in which the movie is filmed and acted, however, makes it an affecting study of two people’s attempts to forge some kind of relationship despite huge psychic damage on both sides.

Understanding that a knockout finish is the most important element, Mr. Spielberg delivers spectacularly in a scene drawn from a real-life meeting. He puts a mischievous twist on his well-earned reputation for sentimental endings by dramatizing an encounter with one of the gods of celluloid.

There is a lot of untapped potential here, and a reality-TV series covering the same subject would be welcome. Nevertheless, inspiring true stories about youth are a little too scarce these days, and “Folktales” is not only magical and warm, it’s also a bracing interlude of good cheer.

A film such as this one ought to present a portrait that feels in some sense true and also make viewers so engaged that they’re hungry to learn more about the subject. Suffused with youthful passion and a deepening sensation of onrushing doom, Ms. O’Connor’s film heartily succeeds on both counts.

American Fiction is being heralded as a brilliant satire, which is almost correct. I’d say it’s sharp and funny, but its targets are low-hanging, and the film’s writer-director, Cord Jefferson, is hardly the first to take a poke at them.

The Iron Claw is either a cheesy professional-wrestling hold or the unbreakable grip of a hostile fate. Or perhaps it’s how a father clutches his children. Whatever it is, it’s a resonant image for a potent tearjerker.

The contrast between the two Killians—mighty on the outside, meek within—makes Magazine Dreams a wrenching character study, by turns lovely and chaotic.

Of all the versions I’ve seen, the latest one is the best, a holiday spectacle bursting with spirited sisterhood. Its characters may be broadly drawn, but their sorrows and triumphs come across with more feeling than ever.

It’s a film about tableaus and texture that strives, largely successfully, to re-create the experience of being an extremely small part of a vast, historic conflagration. In effect, it’s an anti-spaghetti western, eschewing all things grandiose and bold-faced in favor of the small and prosaic.

What might have come across as a soap opera in lesser hands instead feels appropriately weighty. As he steers events toward a devastating climax, Mr. August proves he’s still an able steward of refined human drama.

Not many performers can please an audience as much as Mark Wahlberg, but the pooch comes close.

Birdy is refreshingly complicated: She’s obnoxious but lovable, entitled but sweet

Mr. Wang’s honest self-appraisal yields a richly detailed film.

Flag Day may train its cameras on a small town, but its vision is expansive.

In the title role, Sydney Sweeney must be relieved to be giving people a reason to discuss her acting. She’s excellent in the role, small and vulnerable yet tough and fierce, a pink-clad dynamo who is nevertheless beholden to others.

Though the affair dragged on so long before Dreyfus was finally cleared that Mr. Polanski confines the resolution to an epilogue, he has nevertheless made an oft-told tale lively and urgent. “An Officer and a Spy” is Mr. Polanski’s finest work in many years.

The film is a sort of jigsaw puzzle that demands either paying minute attention or viewing it twice. Seemingly unimportant and easily forgotten details from the opening minutes turn out to cohere and create a conclusive emotional impact of the kind that everyone in the movie is missing.

The lean, athletic Mr. Herzog, 83 years old, seems as spry and eager as ever, and his global enthusiasm remains a force of nature in itself. Ghost Elephants takes its place as yet another of the director’s essential forays into the wild and unknown.

Mr. Birney’s exotically low-fi imagination makes for a freaky and feverish trip.

Filmmaker Elaine McMillion Sheldon, a native of the state, has done a breathtakingly expressive job of capturing the strangeness, the beauty and the devastation of her homeland in the poetic, entrancing documentary King Coal.

Creed III brings up unusually troubling questions for a formula picture, and the care the script takes to add depth to Donnie strengthens the final third of the film, which in accordance with the sports-drama rulebook leads us through a rousing training montage and a climactic competition, this time in Dodger Stadium.

Borrowing the look of The Lego Movie, Piece by Piece is as bouncy and playful as a room full of rambunctious toddlers.

We tend to think of gangland tales as exhibiting clear demarcations between those who are and are not “in the game.” La Civil catapults us into a considerably more disturbing environment, a sort of toxic sinkhole that pulls everyone into its horrors.

The movie about his life and legend, written and directed by Sean Mullin, has two purposes and succeeds delightfully at both.

It’s a pleasure to report that the 100-minute conversation is as wonderful as the actors who deliver it—by turns witty, wistful and revealing, steeped in an appreciation for the hard learning that comes with age.

The film, instead of repeating clichés about the supposed heartlessness of the ruling class, could be viewed as either a barbed accusation of managerial hypocrisy from a working-class point of view or as an exasperated testimonial from a manager of how workers make it impossible to run a company like a family.

Who doesn’t love Bill Shatner? The theatrical documentary “William Shatner: You Can Call Me Bill” reminds us why, stylistically channeling what became the actor’s signature: a dedication to sustained gravitas so portentous that it becomes absurd, then keeps going until it emerges, triumphantly, into the realm of the genuinely spellbinding.