Nell Minow

An existential story that is a less bleak and more scenic version of Samuel Beckett’s Waiting for Godot, a psychological journey about connection, regret, memory, and meaning.

The ignorant and deeply painful misrepresentation of [Davidson's] condition at the BAFTAs shows just how much this film will do to make all of us think twice before judging someone.

It’s an uneven mix of cartoonish slapstick, poorly choreographed fight scenes, and some last-minute lessons about the importance of unity, encouragement, and the need to change obsolete rules. It has too much violence for younger children and is unlikely to hold the attention of anyone old enough to read the subtitles.

It is utterly predictable, but thanks to the charm of its charismatic stars, some of the world’s most spectacularly beautiful scenery, and that fairy-tale gloss, it is beguilingly watchable.

It draws us in with acutely observed details and relatable characters that portray universal conflicts, all with nuance and good humor.

We might not come away understanding Jacobs or his world better, but we can still enjoy spending time with him.

Hoppers is Pixar at its best, a story with warmth, humor, exciting action, endearing characters, and a reassuringly expansive notion of community.

This movie is designed for an audience already dedicated to the music of Millard and Timmons, and to the particular Christian tradition they represent. Those who are already fans will appreciate this chance to share his story, but those who do not know him may find it uninspiring.

It’s not a good sign when we find ourselves admiring the background art more than what is happening in front of it, but it is more imaginative than the characters and story.

The question of how we see our history and who gets to decide is powerfully presented, with respect and insight, in the documentary “Natchez.”

The film is deeply sympathetic to the impossibly difficult choices these girls face and respectful of their efforts to do better for their babies than their parents did for them.

It is a movie of moments. But some of those moments are so good, its optimism is so refreshing, its dialogue so bright, and its characters and performances so endearing, it well rewards a watch.

One element of this film that works well is that the actors understand the assignment, no winking at the audience, except for British comedian/presenter and co-writer of the screenplay, Jimmy Carr, playing a vicar who cannot help running the liturgy texts together to make them sound dirty.

While “Oh. What. Fun” has an excellent director, Michael Showalter, who also co-scripted, some nice music, and top performers, including Danielle Brooks as a delivery driver Claire meets on the road, and the exquisitely lovely Havana Rose Liu, very appealing as Jeanne’s daughter, it keeps undermining our sympathy with off-kilter stakes and inert efforts at humor.

Every bit as exciting and heartwarming and imaginative as the Oscar-winning original and maybe even funnier.

In Your Dreams is an exciting, imaginative, and sometimes funny adventure story about a sister and brother who try to use their dreams to change their reality. But it is also a wise and touching story about the challenges of family and of change.

It is like watching a flower bloom, delicately and compassionately portrayed by writer/director Tommy Dorfman and a beautiful performance by Fogelmanis.

The voice talent and character design are second-tier, and there are too many characters. But the action scenes are exciting, and the pacing, along with its reassuring humor and some nice character arcs, makes it a mildly appealing watch.

The Librarians is a documentary about the hysterical, unfounded, personal, and sometimes violent attacks on librarians. It is also about their unwavering commitment to making facts, literature, and inspiration available to anyone.

We experience the sharp pain of a sad loss, a young father and a beloved neighbor and friend. But the larger story, the one about the failure of the Israeli military to respond quickly, about the normalization of having to have a safe room in every home, about the culture of a country where every citizen serves in the military, and about the return to Murrow’s perceptive warning 70 years ago is what we will carry with us.

The Summer Book is a haiku of a movie, conveying profound thoughts about time, memory, loss, and nature through a simplified, meditative, cinematic language of exquisite images and gentle music.

Lurie is especially good at the narrative and character elements of the practice and game scenes, using them to move the story forward and build to the kind of resolution we look for in underdog sports stories with compelling emotional stakes.

Looking Through Water wants to tell us about the importance of uncluttered connections to the natural world and to each other, but too often it ignores its own advice.

A tight, twisty script, meaningful stakes, a top director (Darren Aronofsky), and an A-plus cast have delivered a satisfyingly sharp thriller, “Caught Stealing.”

Cinematographer Mathias Herndl shows us that Floreana is not a postcard-pretty island paradise. Still, a harsh and unyielding setting, and Hans Zimmer’s score evokes increasing uneasiness as the story builds to a climax of violence and chaos.

The film was originally titled “North Star.” Yet, despite a few moments of connection and insight, that is precisely what this story is missing.

Audiences are likely to see this film as more resigned to the inevitability of permanent conflict than providing any insight in how to move away from it.

The message about never confusing kindness with weakness is a valuable life lesson and a reminder of why the Smurfs are so enduringly beloved.