Moira Macdonald

It’s a moving and engaging film about finding truth, told through the perspective of two people who are very, very good at their jobs.

A charming, moving and over-too-soon portrait of a country, and of what it means to have a longer than expected life.

Do yourself a favor and go see The Crime Is Mine, a delicious bit of French froth from master director François Ozon.

The fun here is in the little moments the actors find, and in the way that Waititi, within the massive machine that is a studio superhero movie, brings out a looseness and playfulness in the performances.

Not every moment in the film works perfectly — Matsoukas, on occasion, slips the actors’ dialogue into internal monologue voice-over, which mostly just seems confusing — but Queen & Slim has a remarkable power. You watch it recognizing the world you know, and wishing you didn’t.

Novitiate is a fascinating, unblinking yet respectful look at a time and place — a women’s community where a visiting archbishop (Denis O’Hare) can act like he owns the place.

At times, the film approaches gallows comedy...perhaps a little too much so; at others, it’s a tense, chilling look at a seemingly unbearable choice — refreshingly, without telling its viewers what to think.

It’s a simple, moving story about love, loss and storytelling itself.

Just try to resist the charms of Mira Nair’s Queen of Katwe, a triumph-of-the-human-spirit movie that’s ultimately, well, triumphant.

Sure, much of it follows ground already trodden in the first film, but it finds that same sweet balance of tears and laughter.

The Fall Guy isn’t a perfect movie; it’s longer and a bit more self-aware than it needs to be, and not every joke lands. But it has that rare quality in a big-studio film: a sense of fun.

You can see clearly in the final scenes where “Creed IV” might be headed; you can also see that Jordan as a director shows promise well beyond this film. “Creed III” works as well as it needs to, and for the umpteenth film in a franchise, that’s more than enough.

This magic musical seems made for film, full of gloriously elaborate sets — can I please move into that dorm room, or at least borrow a few pieces from Glinda’s mountain of pink luggage? — and action sequences that a stage production can’t duplicate.

Jane Austen Wrecked My Life is a gentle treat, sure to leave any book-loving viewer happy.

It’s the kind of movie that you watch with two simultaneous emotions: fascination, and the desire to leave immediately. I’m glad, mostly, that I didn’t give in to the second, but I’m still pondering exactly how Lanthimos pulled off the first.

You have undoubtedly seen many films that cover, generally, about the same territory as Taylor Sheridan’s Wind River.... But you probably haven’t seen one quite like “Wind River,” a movie less interested in examining the crime than in uncovering the icicle of grief at its core.

If you go expecting a slightly quirky romantic drama with touches of magic realism, not to mention the pleasure of seeing Ryan in one of her rare screen appearances these days, I think you might leave happy.

“Jay Kelly” is a playful movie made with palpable love for cinema and its magic.

The Killer is both disappointing and satisfying, with pleasure and competence to be had.

An enjoyably lighthearted crowd-pleaser with a serious message at its core.

Ruffalo, as a character more polished and reserved than he usually plays, is compelling as ever; he’s able to convey the sense of time passing, with the case weighing down on him more heavily as years slip by.

Where is Kyra? is a small story — there’s much about its main character that we’ll never know — and a terribly sad one. But it’s a remarkable showcase for Pfeiffer, who’ll break your heart in every scene.

There’s nothing remotely fresh about Juror #2, but that’s what makes it fresh — it’s simply a story about neither heroes nor saints, but a group of people trying hard to do the right thing.

Dark fare indeed, and you won’t shake it off easily.

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.

A haunting and lovely documentary.

It’s a compelling argument, in a film that may well change a few minds — or at least inspire some heartfelt post-screening arguing.

Hail, Caesar! isn’t the great film you might like it to be, but it’s very, very good fun.