Leslie Felperin

With its really smart deep dives into cultural criticism, this is a seasonal stocking overflowing with spooky fun.

This exquisite, exemplary science documentary, directed by Irish editor turned helmer Emer Reynolds, recounts the rich and fascinating story of the Voyager mission, arguably Nasa’s finest, noblest contribution to scientific understanding.

Offers both a universally relevant examination of religious zealotry and, at the same time, a damning, satirical look at modern Russia, a country whose major institutions have become increasingly dominated and cowed by medieval-minded reactionaries and bigots.

It feels confident, inventive and as grippy as duct tape throughout.

The assembled dames are so smart, witty and strong-willed, it’s a wrench to have to part company from them at the end of the film.

A pleasing walk in the park for all involved, not exactly profound, but appealing to both long term fans of the franchise and accessible to newcomers.

The result is an expressive and moving portrait of a tempestuous marriage, one told with elan that feels rich in feeling even if its entire budget probably wouldn’t have covered the cost of croissants on an average film shoot in France.

As a meditation on bereavement, parenting and the burden and blessing of inheritances, Love & Stuff is about as universally accessible as it gets.

It seems almost frivolous to note this, but the hyper high-definition cinematography is both beautiful in a savage way and adds immediacy to the viewing experience.

The final reel packs a genuine emotional wallop, even as it makes auds laugh with the vicious precision of its dramatic irony.

This goofy horror comedy, based on an online game of the same name, just goes to prove that if you have a great cast, smart direction and witty script you can just about get away with murder.

This extraordinary documentary by director Sebastien Lifshitz, who has made many films about the LGBTQ+ experience (Wild Side, Bambi, Open Bodies), achieves a remarkable degree of intimacy with its young subject and her family.

Sometimes God is just too on the nose when he makes his creations suffer; but at least Alberdi’s humane, profoundly empathic film-making offers some balm.

The picture laudably adopts an intimate, personal approach to a subject -- hardworking Chinese garment workers -- that's been covered in more hectoring fashion elsewhere.

Despite being entombed in all that prop flesh and wrinkles, Mirren manages to emote very effectively with her voice, mimicking Meir’s midwestern twang, gait and posture.

Like horse racing, filmmaking is a high-risk gamblers' game, but the team behind Dream Horse, the resulting dramatization of the Vokes' story, have surely bred a winner with this endearing, determinedly crowd-pleasing adaptation.

Not everything is spelled out too literally, and both the screenplay and Macneill's sensitive direction leave it to the lead actors to fill in the foreground colors.

It’s hard to dislike this pleasant, earnest work.

This directing debut for experienced producer Marc Turtletaub (Little Miss Sunshine, Loving) ticks along pleasantly, driven by an efficient if slightly bland script by Oren Moverman and Polly Mann.

Tenet makes you feel floaty, mesmerized and, to an extent, soothed by its spectacle — but also so cloudy in the head that the only option is to relax and let it blow your mind around like a balloon, buffeted by seaside breezes and hot air.

Facing the physical challenges of depicting Hawking’s disability, Redmayne pulls it off with enormous grace and endurance.

So much better than one would expect for a fifth installment in a franchise, this tribute to female friendship and girl power is a kick.

The worst that could be said of helmer David Gelb's feature debut is that it's perhaps a little over-garnished with backstory about Ono's relationship with his two sons, and is slightly repetitive. That said, this intrinsically compelling hymn to craftsmanship and taste in every sense should cleanse palates.

Although the focus is on one particular nightclub and its owner, the film acts as an accessible slice of jazz history that might usefully entice viewers to learn more.

As action, it's niftily executed, the suspense neatly built, and the shocks expectedly surprising.

The Nowhere Inn is simultaneously satire and fan service, frothy fun and pretentious nonsense, depending on what the viewer wants it to be.

This hallucinatory, deeply confusing but skillfully executed and mesmeric work flows back and forth across time periods, parts of the city of Yekaterinburg and its characters’ memories, often literally within the space of a single shot.

Director Bose handles the material with a light, elegant touch. It helps that the cast, especially the remarkable Koechlin who gives a bravura performance in both physical and emotional terms, can carry it all off.