Moira Macdonald

Sing Street reminds us of being young and lost in a song, realizing with a jolt that someone else had the same feelings we did.

This isn’t really a movie, but a delicious wallow, and regular movie rules don’t apply.

Bullock and Tatum take hold of the material and turn it into an enchanted screwball.

It’s a small film that touches on large issues: the world of work, and how it defines us. You leave it feeling you’ve met someone, and wishing him well.

It’s fun to watch Samantha playing her sources like a teenager plays a video game — expertly, offhandedly — and fascinating to witness the machinations between Naomi and Erin, neither of whom ever tells the other what she’s thinking.

The cast is a delight — Cola, between this film and “Joy Ride,” is officially the funniest best friend of summer 2023 — and the film has some thoughtful things to say about identity, attraction, ambition and moving on.

Bazawule slowly but surely lifts us up, letting us soar with the cast by the end.

House of Gucci is no masterpiece, but it’s often crazy good fun.

You leave Touched with Fire wishing there were a little more to it — the screenplay needed to flesh out Carla and Marco a bit more as people, rather than Bipolar Poets in Love — but undeniably moved.

It plants its gaze on Lee — and on Elliott, who takes The Hero in his hands and makes something quietly moving from it.

It’s the kind of documentary that might serve as a perfect introduction to Lumet’s work; when it’s done, you want to watch all of these films immediately.

It’s Hedges who owns the film, who lets us see Jared’s pain and confusion on his tightly clenched face — and who, in a gentle epilogue, gives us a lovely, wordless demonstration of freedom.

While the first “Grinch” I will always adore It’s possible that there’s still room for one more. Hearing the Who’s sing their songs to the skies — It’s still movie magic, whatever the size.

Letts has some fine moments, but it’s Winger who really brings the color to this movie, creating a woman filled with disappointment and passion and wit, taking a small-scale comedy of manners to a darker, richer place.

If it occasionally feels a little too cinematic, with a few too many obstacles thrown in the way of Gail and her son, so be it. The film’s an impressive accomplishment, on several levels.

The film belongs to Streep, who makes Florence a sweetly feathery dreamer — singing like an angel, in a voice that only she can hear.

It’s all good, goofy fun; make it an air-conditioned double feature with “Mamma Mia! Here We Go Again” and you might just have the very definition of “summer movies.”

As rom-coms go, it’s pretty much everything you want, even if it’s not quite distinctive enough to linger.

The eighth entry in the movie franchise that began in 1996 (based on a television series that began in 1966), is a competent, smart, expensive and sometimes thrilling action movie; it is also a very long one, in which we are given time to wonder whether spy/superhero/very intense runner Ethan Hunt (Cruise) ever just gets up in the morning and decides to take it easy that day.

The “Trip” movies, like the anchovies Coogan and Brydon happily devour, aren’t to everyone’s taste.... But oh, those impressions.

If Civil War wasn’t so utterly horrifying, it could be a superhero movie, with journalists wearing the capes.

What’s most appealing about Zellweger’s portrayal is the brightness that peeps out from the clouds: her deep love for her children, her sly wit.

Ultimately, The Electrical Life of Louis Wain is made enjoyable by its human and feline actors, despite the sadness of the material, and it left me wanting to know more about its subject, which I suppose is the point.

There's something about Fiscuteanu's quietly desperate performance (with much of the emotion conveyed through his eyes), that gets under your skin.

Thanks to Dench, Victoria & Abdul is constantly engaging and at times moving.

Mary and the Witch’s Flower isn’t quite a masterpiece.... But it’s a joy to look at: a visual adventure, and a continuation of a remarkable legacy

Much of The BFG, perhaps a little too much, is devoted to watching Sophie madly scurry away from the giants; it’s a beautifully rendered chase but still just a chase. When the movie slows down to allow Rylance and Barnhill to converse, it finds its magic.

Everything about Rose Glass’ violent revenge thriller Love Lies Bleeding is unexpected; you watch it as if strapped into a roller-coaster car, not sure when the next dip or swerve might be.