Mary Houlihan

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.

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.

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

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.

A contagious enthusiasm runs through the heart of Jon Angio’s Revenge of the Mekons, a documentary that celebrates and explores the evolving ethos of the seminal British punk band The Mekons while also proving that some of rock’s most interesting stories come not from success but survival.

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

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.

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

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

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.

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.

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

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.

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.

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.

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

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.

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

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.

The young actors shine revealing lights on their characters.

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

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.

At Middleton is an innocuous romantic comedy.

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

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

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.

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.

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