Mary Houlihan

The powerfully choreographed dances also address the idea that artistic vision is a potent antidote to repression.

Edmands avoids the in-your-face emotional punch that most filmmakers would employ (police, lawsuits, confrontation) and instead opts for a more delicate, observational pacing, creating a set of vignettes that give a stark glimpse into these disrupted lives.

A surprisingly touching ending brings to fruition the idea that “all of us are connected.” Moore manages this life-affirming touch without being preachy and by simply melding unusual old folktales into a new story filled with visually stunning images sure to captivate children of all ages.

The filmmakers behind Paddington successfully bring the lovable bear into the future and strike a balance between honoring the spirit of the original books and updating the story for today’s young audiences. This is a charming film whose underlying message of tolerance and acceptance strikes a palpable chord in today’s world — both for children and adults.

Musical theater versions often seem dated, so moving the story into the 21st century does make sense (as does the multicultural casting), but in the process Gluck and his all-star cast create a chaotic film that tries too hard and fails to capture the charm and heart of the musical.

It’s the beautiful and breathtaking animation that gives The Tale of the Princess Kaguya a luster that is both simple and sophisticated. Once again the visionary Takahata and Studio Ghibli prove that great animation is not just for kids, but can be universal in its reach.

With Rosewater, Stewart proves he can pull back from the satirical comedy and become a thoughtful, incisive and questioning filmmaker.

A perfectly cast film that depicts a moody world of jazz musicians, drugs and self-destruction.

Hellaware doesn’t really have anything new to say about its art world subject... But Bilandic does perfectly capture the laid-back style of the twentysomethings (the lead actors all do fine work) and manages to present a fresh story of callow youth caught up in their own American odyssey.

Despite its cast and convincing backdrop, Stonehearst Asylum is a tame entry in today’s roster of horror films.

The Boxtrolls has a rich, edgy texture that makes it stand out from other animated films.

In his dynamic and revealing documentary Finding Fela!, director Alex Gibney captures the many sides of Afrobeat king Fela Kuti, a complex character who is at once inspiring and vexing.

Lespert’s film, made with Berge’s blessing, does not sugarcoat the demons that plagued Saint Laurent.

Sex Tape feels like the halves of two different movies. There is a fun, believable comedy about family life... that is upended by the overly broad, barely funny attempts at reclaiming the sex tape.

The Perfect Wave is aimed at a certain audience that will appreciate its message and let slide its deficiencies.

The Rover does have a central nervous system that crackles and pops with suspense, but in the end it’s not enough to jump-start the lack of narrative. Too much story is missing, and that is simply distracting.

The film is well acted all around and the excellent art direction brings the ’60s to colorful life. But Bandele struggles to balance an epic story of civil war and death against the equally epic story of sisters whose lives are forever changed by circumstances they can’t control.

It goes down like a French pastry, offering no real value but looking good and satisfying a craving for something light and airy.

In its best moments it travels into the heart of darkness with “Richard III” and brings to life the unique, all-involving heartbeat of theater performed before a live audience.

Yes, it’s another sports movie about underdogs reaching for the stars and winning, but what makes it unique is Starks’ interesting story and the fact that it’s about golf.

No God, No Master has an authentic period feel. But Green is focused on so many historical figures and potential storylines that the film feels rushed and, at times, confusing.

It’s a big puzzle that the filmmakers piece together in an intriguing and engrossing way.

There’s a glint of a clever idea here, but writer-director Ramin Niami’s reliance on tired rom-com tropes only serve to drag down the film, which plays out like a Harlequin romance.

The young actors shine revealing lights on their characters.

The stars hold the film together.

The Lunchbox,” Indian director Ritesh Batra’s debut, is a witty and perceptive film that reveals the hopes, sorrows and regrets of ordinary people.

A cast of mostly first-time actors shade the film with a touching realism. Bakri offers a masterful performance, portraying Omar as kind and easygoing while also tamping down those traits in an atmosphere of suspicion and betrayal.

There is nothing really wrong with In Secret, yet in the end one feels dissatisfied. It’s as if you’ve just sat through a dry academic lecture dissecting the novel.

It is to Lelio’s credit that he steers clear of stereotypes and lets the story unfold organically without judgment or sentimentality. There is an unflinching honesty and intelligence here.

At Middleton is an innocuous romantic comedy.

The positive messages involving characters searching for love and purpose in life are well thought out, but presented in a way that is just too genial and even-handed. No one ever gets really angry or passionate, and the result is a film that sometimes feels stilted.

Tucci and Eve play well off each other, especially when they are slinging ugly revelations back and forth.

Lemmons and her cast, aided by some great music, have created an interlude sure to lift the spirit during the holiday season.

Despite some fine production values, lovely photography and smart casting of a range of British stage and screen actors, The Christmas Candle can’t quite move beyond the weary metaphors. It has the feel of a slick television movie.

Director Mike Newell and screenwriter David Nicholls focus on the major plot points of the well-known story. Their attempts mostly work but at times the film, despite its two-hour-plus length, feels rushed and truncated.

The dialogue in places leans toward the banal, but a couple of plot twists help hold interest.

Despite the filmmakers’ best attempts, the latest screen adaptation of Shakespeare’s tragic love story Romeo & Juliet lands with a dull thud.

Appealing performances and a not always predictable storyline help elevate Pulling Strings above the run-of-the-mill rom-com.

There’s nothing offensive in the relentlessly upbeat Tio Papi. It’s just all so polite and saccharine. Life lessons are learned every few minutes, and the ending is telegraphed from the beginning.

The racing is spectacular, especially when you consider director Courtney Solomon’s claim that no CGI was used in the crash scenes... Solomon wanted to put the audience in the middle of events and inside the car; he certainly does pull that off. Believe me, your head will spin. After a while it all becomes mind-numbing.

It’s a romantic comedy with all sorts of possibilities that instead relies on heavy-handed sight gags and over-the-top performances.

Ain’t Them Bodies Saints is a tone poem that doesn’t quite live up to its luster. It is so shrewdly perfect and solemn that the strong emotions layered throughout Bob and Ruth and Patrick’s intertwined story become lost in the film’s one-note mood.

Vinterberg has created a modern horror story about a man’s descent into a Kafkaesque nightmare.

There’s simply too much going on here — too many subplots, too many symbols, too many expendable characters — and certain interesting threads aren’t able to develop fully.

This is not an in-your-face thriller but rather a measured film ripe with suspense that never lets up.

Violet & Daisy won’t be everyone’s cup of tea... But view this as a modern comic book/fairy tale, and it’s easier to accept this saga of girls with guns and the life lessons they eventually confront.

Filled with witty dialogue and natural performances, Frances Ha marks a return to form for Baumbach.

Scott keeps the story from becoming cloying and sentimental. He is aided by smart, low-key work from his cast, especially Huard, who easily embodies the persona of an adult slacker, instilling him with a warm charm.