Michael O'Sullivan

Dumont is clearly critiquing the way we mediate life via screens, large and small. There are times in this rambling story when the filmmaker’s point isn’t quite as obvious, but that’s only because he has a habit of trying to jab several moving targets with a sharp stick all at the same time.

The pretentiousness of acting is a fun thing to lampoon, and “Official Competition” does it with surgical precision.

The film’s title is apt: Gregory was one of a kind. But despite the film’s argument that its subject’s activism was part and parcel of his comedy, and not an afterthought, it’s the jokes that are given short shrift here. One wishes there might have been room for a few more of them.

Hilary and Jackie plumbs the cistern of family dysfunction and musical genius to profound and haunting effect.

[Fox] still has an immensely likable and funny on-camera persona, and now he is using that gift — along with a different one, this nakedly honest film memoir — to share hope, joy and perhaps a sense of acceptance with others.

Although the cast is uniformly strong, the real revelation here is "The X-Files' " Anderson, who plays Lily with subtle gradations of emotional depth unexpected from someone who has made a career out of deadpan.

Poignant, heartbreaking proof that, sometimes, love is just not enough.

For the first half of this spellbinding — and unexpectedly gut-wrenching — little film, there’s barely any dialogue at all.

As Eleanor, Bonham Carter delivers a sweetly oddball performance playing a high-maintenance but fiercely determined grouch who is mostly impossible to like. Swank, for her part, is no picnic either: A former psychiatric nurse who discovered law later in life, her Colette is a largely charmless workaholic.

Offers little in the way of originality, real excitement or even genuinely transgressive behavior.

It is difficult to watch, but it's also impossible to take your eyes off the screen. It does not blench at the things that Hollywood routinely blenches at: substance abuse, dying, family dysfunction, love.

It's an infusion of zip that's sorely needed, because the chief deficiency of A Bug's Life so far is its blandness….The film's other weakness is the low-octane vocal performances of its leading cast.

The violent, beautiful and powerfully watchable movie Monos — Spanish for monkeys — takes its title from the code name used by a group of teenage guerrillas.

For much of its brisk running time, It Comes at Night teeters between delicious atmosphere and almost unbearable tension.

In some ways it plays like a horror movie, in other ways it’s almost a documentary. The most interesting thing about the movie is the balance of tone that Laurent strikes between recognition and repulsion.

If you are also an acolyte in the church of chopsocky, samurai swordplay and gunslinging gangsters, you could do a lot worse than John Wick: Chapter 4. In fact, you’d be hard-pressed to do better.

It’s a fever dream in which the past and present are confused, along with plant and animal, the living and the dead, and, ultimately, the meaning of this troubled vision.

Young Plato is a fascinating, sometimes funny and often touching film. It’s easy to see why the directors were drawn to McArevey and his school.

The disturbing ideas it plants in the soil of the soul need time and darkness ? not light ? to germinate.

If “Infinity War” was about failure, “Endgame” is, ironically, all about acceptance and moving on. After 11 long years, the Infinity Saga is finally, fulfillingly over. There is no post-credit scene. But oh, what a going-away party these old friends have thrown for themselves.

Powerful yet ambiguous.

Boasting a plot that's heavy on the magical shenanigans, this pretty and poetic adaptation of Shakespeare's play is a fantasia for the smart set, a literary novelty for anyone who wants to have fun without giving up food for thought. On that score, at least, it delivers, in spades.

A touching documentary on the immigrant experience -- or at least one very tough slice of it.

It’s a heady dramedy, albeit without terribly many tears or laughs, except those that arise, perhaps unintentionally, from the incongruity of Stevens being repellent.

There’s plenty to look at while we’re waiting for the titular Queen, and it’s often quite pretty: Shots of rabbits, sheep, deer, yaks, foxes, pikas, bears, other big cats and a miscellaneous assortment of birds abound. But this is not your typical Animal Planet or National Geographic film.

There are gray hairs on some of the people in this fascinating film: Jimmy Buffett, Tom Jones (yes, that Tom Jones — he played the 2019 show) and others. But the energy that the film puts out is vital and full of sap.

Haunting little film, whose chaotic universe is churned up by the conflict between the haves and the have-nots.

This very thinly sliced character study of beautiful if benighted adolescence is more a pre-coming-of-age tale, one that takes us close to, but not through, the transformative acquisition of good judgment.