Lindsey Bahr

A powerful, shapeshifting teenage girl and a disgraced knight-in-training suspected of killing a beloved queen are at the heart of Nimona, a vibrant and irreverent animated adventure set in a futuristic fantasy kingdom.

It’s not a perfect film, it lags at times and at over two hours it is far too long, but Theron and Rogen have a natural chemistry that makes spending a couple hours with them, even in the dullish moments, a joy.

Filmmaker Raoul Peck uses George Orwell’s writings to weave together a biographical portrait of the author and a dispiriting picture of power and truth in the modern world in “Orwell: 2+2=5.”

It is deeply personal and imbued with the kind of tenderness that is extremely difficult to see or appreciate in the moment.

Nature provides much of the soundtrack to All Dirt Roads Taste of Salt, a poised and occasionally transcendent debut from writer-director Raven Jackson.

It’s both captivating and bleak, with a series of sexual encounters that can only be described as feral — “Wuthering Heights” wishes it could have hit the ravenous peaks of Fernando and Jennifer together.

I Carry You with Me couldn’t be any more specific about the trials of an undocumented gay couple trying to carve out a place for themselves, but it’s that specificity that makes its themes and emotions all the more universal.

A Kid Like Jake might not be especially cinematic, but it is profound in its simplicity and truthfulness about what real fights sound like and what real lives look like.

It feels strange to want a movie to be longer, but in the case of Last Breath I was both desperate for it to end, for anxiety reasons, and also wanting more.

The broader history is there for those who are curious and on its own terms this is a story that will keep you engaged. Much of that has to do with Ridley.

It’s both a compliment and a criticism to say that “On the Record” left me wanting much more.

Fire is in the air this summer, literally, and at the movies. Though the flames in German filmmaker Christian Petzold’s Afire aren’t of the nuclear variety, the smoke from his tension-filled chamber piece about a few young adults at a vacation house near the Baltic Sea certainly gets in your eyes.

The Bob’s Burgers Movie feels very easy and lived in thanks at least in part to the fact that its vocal cast has been doing this for over 200 episodes.

It’s Vega’s extraordinary performance, full of grace and depth, that keeps A Fantastic Woman in check from becoming something either too campy or too sanctimonious. It’s one that has the power to make an audience really understand and internalize why it is an act of bravery to simply live life as herself, and perhaps even change some minds in the process.

The film is immensely watchable, staged without flash or pretention, that relies on its sharp script and talented and charismatic actors to carry the audience through. Wright is particularly delightful at the center of it all as he navigates a new relationship as well as the consequences of his lie and how far he’s willing to go with it.

Miller gets to play in a wide array of cultures as the djinn skips through time, all with their own shimmering palettes and fairy tale hyperrealism.

East of Wall is a promising start for a burgeoning filmmaker and a worthy portrait of an insular world that many of us will never know.

A Secret Love is guaranteed to pull at your heartstrings. It might be the quarantine or it might just be effective storytelling, but a scene near the end of the family coming together — not even a sad scene — left this reviewer in tears and I’m willing to bet I won’t be the only one.

As Ethan Coen finds his groove as a solo director, “Honey Don’t” might not be “The Big Lebowski” or “Raising Arizona,” but it is a swing in the right direction. At this rate, if we get the pleasure of seeing a third film, it might just be a classic.

Its examination of the cowboy masculinity that leads Brady and his peers to seek a life of thrills and danger only scratches the surface, but you’ll be surprised at how intoxicating and enveloping it is, right down to the on-the-nose metaphors.

Alexander is pleasantly devoid of the vulgarity and too-current pop culture references that are the default mode for many contemporary live-action kids' pics, and its earnest celebration of family gives the movie a comforting throwback vibe.

But Clermont-Tonnerre has established herself as a filmmaker to watch with The Mustang, and has also made the most compelling case yet that Schoenaerts can not only handle an American accent, but excel with it too.

The Sisters Brothers takes a bit of getting used to at the start, but the rewards are worth it.

Shayda is set in 1995 and yet still feels quite relevant, and not just for Iranian women. In Niasari, we have a brave and distinctive new filmmaking voice and I can’t wait to see what she does next.

It’s quite a riveting and though-provoking journey, with compelling and nuanced performances all around, and, although it is quite serious, not without moments of levity.

Broker is definitely a slow burn that can feel a bit repetitive at times, though the introduction of Hae-jin (Im Seung-soo) as an 8-year-old orphan with Premier League dreams helps get the film over a meandering hump.

Sirāt is the kind of film that will get under your skin and fester, the kind that will leave you with a pit in your stomach.

An adaptation of a Bernard MacLaverty novel of the same name, “Midwinter Break” is a delicate film that stays in a minor key, but whose impact is profound if you can get on its level.

There are, hopefully, still many stories left to be told about the phenom of the Williams sisters. But King Richard is a very good start.

A surprisingly delightful film full of action, heart, a crazy-haired Patrick Stewart (as “old” Merlin) and a few genuinely good gags.

Dripping in neon, platitudes, sweat and fear, “Bodies Bodies Bodies"...is playful, cutting and never dull.

C’mon C’mon doesn’t really go anywhere in particular. It’s a meandering experience, but purposefully so. And it’s the kind of film that makes you want to leave the theater and ask the big, cheesy, sincere questions of strangers, family, anyone really.

The Sea Beast is notable for its refusal to dumb itself down for a young audience. It’s anchored by interesting and fairly complex characters who actually have arcs to play.

An intensely personal and truthful, if not entirely fact-based, account of joining the Marines as a gay Black man in the “don’t ask, don’t tell” era. It is the type of film — brave, raw and poetic — that will rightly put Bratton on the map as someone to watch, not to mention the standout performances of Jeremy Pope and Gabrielle Union.

It is charming and silly and sometimes cringey — other people’s relationships always are— and in the end it works exceedingly well because of them and their wonderful chemistry.

This is a movie that demands to be consumed distraction-free. But by the end, you might find yourself feeling as crazy and untethered as the wickies.

The charms of Summerland aren’t in its plot. They’re in the sentiment, which is too good-hearted to be cynical about, and the characters.

Toy Story 4 is a blast and it’s great to be back with the gang.

As with most Linklater joints, it’s so sincere and so sweetly true that you can’t really fault it for not reinventing the wheel. Just like a story that your parents have told or maybe you’ve told a million times before, it’s comforting.

Kenneth Branagh indulges in the kind of macabre theatricality that only a crumbling Venetian palazzo on a stormy Halloween night can provide in A Haunting in Venice.

It’s hard to imagine seeing it anywhere but on the big screen. It’s the kind of movie that demands it.

Directed by Joel Crawford, with Januel Mercardo as co-director, Puss in Boots: The Last Wish has enough good jokes (script by Paul Fisher and story by Tommy Swerdlow and Tom Wheeler) to keep anyone amused for an afternoon at the movies.

[Anderson] is still that open book, disarmingly funny and candid and uncynical, sitting there beautifully makeup free, letting the filmmakers and audience peer into her soul through many pages of journals going back to her childhood. It is a captivating watch, especially for those who never thought much about her at all.

Huppert seems to be enjoying herself fully leaning into Greta’s insanity, so perhaps this one can get a pass. She helps elevate the film from its self-consciously B-movie roots to be something that’s actually pretty good.

Air coasts quite well on its compelling, funny and self-aware script (which even allows room for an amusing disagreement about who exactly came up with the name Air Jordan) and charismatic movie stars.

Is it all a little much? Of course, but that’s kind of the point of Maria.

Eisenberg, who has already proven himself to be a talented, unsparing writer, shows promise as a director. He has not made a flashy art film, but it’s a smart, biting and occasionally sweet character piece about unlikable characters that you still may want to root for, because, though it may be hard to admit, they’re not so different from us.

The themes are obvious and a bit old fashioned and the trajectory is too. But that’s not a ding: It’s just a neatly constructed story that stays true to its genre and time. And hopefully, it’s not the last time Morgan and del Toro revive a hidden gem.

El Conde might stretch its gimmicky premise a little past its welcome, but it is an intoxicating, overwhelming and gruesome cinematic experience nonetheless, which would make a fitting double feature with last year’s great historical legal thriller “Argentina 1985.”

McAdams and Weisz are on fire in Disobedience showing sides to their talents that we’ve never seen before in this truly unique film. Disobedience might not look like it’s for everyone on the surface, but its specificity is what makes it worthy and, almost, great.

Apparently even death is no respite from earthly puzzles like the love triangle. Sure it’s messy and confusing for those involved but it’s also one of the great storytelling setups for a screwball comedy. And this particular film, imaginative and shrewdly whimsical with an utterly charming cast, delivers on the promise. Lucky us.

Confidently directed by David Bruckner from a clever script written by Ben Collins and Luke Piotrowski, The Night House excels in tension building —it is both unpredictable and unnervingly restrained. In other words, you’re rarely at ease for 110 minutes.

The Friend stretches on a bit too long, but it’s done with such care and a kind heart that it’s not hard to give it two hours of your time.

It’s an impressive work of independent cinema that stays shockingly grounded thanks to its two leads and their fearless performances.

We Grown Now is slightly dreamy and stylized, too, but instead of a liability, it makes this very small story feel grand, poetic and cinematic — just like it would for an 11-year-old.

This movie will not be for everyone, but it is important not least because it continues to advance the discourse around miscarriages which is a trauma that couples, but mainly women, have been expected to shoulder in secret for far too long.

A slow but captivating burn that may leave you questioning your own hard-set ideas of right, wrong and family.

McQueen builds tension masterfully throughout, although is so sprawling that at times you’re left wondering whether this might have been better told as a limited television series. Then again, is it worth complaining about relative brevity when done this well?

As the title suggests, there are layers and layers to this mystery — even the central murder isn’t revealed until deep into the film, when Johnson rewinds and reframes much of what we’ve just seen. And it’s bigger, wilder and funnier than its predecessor.

Bentley’s film is haunting and patient, a dreamlike journey through a world that was disappearing in real time and an ode to the beauty that’s remained.

It may be more mystifying than illuminating when all is said and done, but it is certainly a uniquely captivating experience with wildly imaginative creations, interesting performances, challenging ideas and one of the best scores of the year.

Dread permeates every frame, whether it’s a quiet moment of smart conversation, a white-knuckle standoff or a deafening shootout on 17th street.

You don’t need to know much about basketball or care about Steph Curry to watch this film, though many probably will. But much like the Michael Jordan doc “The Last Dance,” this beautifully constructed (and much more economical) narrative operates on its own terms, with a beautiful score guiding the viewer through his life.

Luhrmann never does anything by half measures, but perhaps one of the most striking thinks about Elvis is how ultimately restrained it is in the end.

It doesn’t all work, but Titane is a messy, provocative and wild piece with attitude and style that is never uninteresting.

Like "Ready Player One," however, Incredibles 2, kind of loses the thread by the end.

It is a fun experiment to be a fly on the wall for this bizarre night — a little dinner theater canapé that’ll make you laugh and think and be grateful (hopefully) that your friends aren’t this kooky. By the end, you’re ready to call it night too.

Loveless is a beautifully shot and elegantly constructed film about an already broken family in a moment of crisis and tragedy. It’s also one that is so bleak and unpleasant to sit through, and sit with afterward, that I could honestly only recommend Loveless with extreme caution, if at all.

Anyone hooked on Mare of Easttown and looking for a holdover in between episodes would be well-served by the intrigue of The Dry. It’s actually a bit of a wonder that it wasn’t stretched out into a television series itself, but Connolly has a command on the pacing and The Dry never feels rushed or undercooked.

I’m not sure just how much more the studio can mine out of this concept that was once so brilliant. But happily, The LEGO Movie 2 doesn’t destroy everything the first worked so hard to build. It’s just trying very hard to be exactly the same.

Sorkin bites off a lot here — he wants this film to be about everything. And the dialogue is so typically snappy that he basically gets away with it.

Rebecca Zlotowski’s latest... is part noir, part comedy of remarriage, and part Freudian fever dream about past lives.

It’s often hard to see comedies for what they are, or what they might be, on first viewing. But “Eurovision” is that rare film that strikes the right chord from the start. And, weirdly, it might even spark some interest in the actual show.

Regardless of your familiarity with Wilson’s Pittsburgh Cycle, “The Piano Lesson” is a worthwhile, captivating and moving watch full of charismatic performers.

Ultimately, it’s an effectively minimalistic thriller that leaves much room for interpretation and debate, and a good option for anyone looking for something creepy to watch this Halloween without the gore.

In the end, Chevalier may be more fiction than history, but it’s worthwhile with effective acting, tension (helped by Kris Bowers’ score) and a decadently beautiful production.

Hatching is an assured and promising debut for Bergholm with a jaw-dropping ending that may just cement it as a cult classic in the making.

In our world of gross TikTok hacks for one pot meals, it’s a balm to see things slowed down and with many, many beautifully rustic copper pots and cast-iron pans.

Working with a script from Drew Pearce (“Hobbs & Shaw”), Leitch packs the film with wall-to-wall action, in both the film’s movie sets and its real world. And with the self-referential humor, the industry jokes and the promise of a little romance, it feels like one of those movies we all complain they don’t make anymore.

Like “Boys State,” this film presents a fascinating microcosm of American teenagers.

Morrison is a celebrated cinematographer known for “Black Panther,” “Fruitvale Station” and “Mudbound,” making her feature debut as a director. And it’s a promising one, full of beautiful shots, unexpected choices and rousing fights inside the ring, anchored by a thoughtful, engaging script and compelling lead performances.

Some have likened Passages to a horror movie (though aren’t all coming of age movies horrors in some way?) Regardless, it would make a fitting double feature with Christian Petzold’s “Afire”. They are both films that let you dabble in the feeling of having had a semester abroad, tumultuous feelings and all, without all the actual emotional fallout or jetlag.

This latest film by the great and astonishingly prolific Steven Soderbergh is not out to give the audience what they think they want from him. Instead, it’s a meditation on art, legacy, creativity and the oh-so-touchy subject of who has the right to critique.

It doesn’t always work, but has a natural engine and spirit to it that keeps you focused.

Science and belief clashes aside, The Wonder is a transfixing, transportive film, anchored by the incomparable Pugh.

Will you exit with any sort of elevated understanding of artists or love or tragedy? Maybe not, but, again, this thing called Annette has a way of taking up residence in your mind, whether you like it or not. If you’re even the slightest bit intrigued, you should let Carax and the Maels take you on this bizarre journey.

The film itself might not wrap up in any sort of tidy or satisfying way, but nothing leading up to the conclusion would lead you to expect something so basic.

It has the makings of a stealth classic.

The film looks of its time, but it also feels fairly modern in its sensibilities which makes it always seem more like a re-telling than an in-the-moment experience. This may be to its detriment, yet it’s still an undeniably riveting and compelling watch.

It lulls the viewer, along with the protagonist, into a misty, dreamlike delirium until you’re not even certain of what’s right in front of your face.

Perhaps there is something to the fact that fairly or not, some of the luster has dulled due to familiarity, but The French Dispatch remains a highly enjoyable, sophisticated and experimental ode to the romantic, and fictionalized, idea of the midcentury heyday of magazines like The New Yorker and The Paris Review.

Piani has constructed a rare gem in “Jane Austen Wrecked My Life,” which manages to be literary without being pretentious.

It may not be great cinema in any traditional sense, but it’s great fun and a much-needed antidote to all the bad cover versions floating around.

Hallgren weaves together a compelling narrative with these public and private interviews that builds chronologically to the present.

The Lost Bus is about a few ordinary people in an impossible situation just trying to survive. While it’s not hard to wring emotion out of an audience watching kids in peril, it also, in some ways, gets right to the very heart of the matter.

The film buzzes along with introspective conversations, all-too human moments, a terrific soundtrack with everyone from Marianne Faithfull to The Pretenders, and a few delightfully awkward scenes that really drive home the whole “don’t meet your idols” conceit.

A charismatic ensemble cast, a sharp script and a few well-placed twists make Game Night one of the more enjoyable big studio comedies in recent memory.

Even though it might be difficult to watch at times, it’s done with such evident love and sensitivity that it’s hard to imagine a human being not connecting in some way, and perhaps even learning something along the way.