Lindsey Bahr

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.