Nell Minow

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.

A Nice Indian Boy is nowhere near the flamboyance of DDLJ, but it brings that same sense of the joy, the anxiety, and yes, the bigness of love to a wonderfully warm-hearted romance.

There are dozens of carefully observed and touching moments in “Daughters,” which won both the Documentary Audience Award and the Festival Favorite Award at Sundance.

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.

Yes, the script might as well have been written by an algorithm to hit every rom-com beat, from the meet-cute to the magical connection to the setback to the happy ending, but it deserves extra credit for what it avoids. There are no silly misunderstandings, contrived situations, or cartoonishly awful people.

What is most endearing about the film is the palpable message throughout that Sesame Street was brought to us by the letters LOVE.

[Itô] wants us to see her when she is vulnerable and in pain. But the film itself is a testament to her courage.

What makes a space feel safe? The small miracle of the Estonian film “Smoke Sauna Sisterhood” is that it does more than show us a blissfully safe space; it invites us inside.

After Love is not an accurate description. Love does not end in this story any more than the anguish of loss. Instead, it is about characters who find that a broken heart is open to empathy and learn to recognize that what connects us is so much more than what divides us.

Like a less-cluttered Wes Anderson film, Amanda has quirky, precocious young characters who deliver aphoristic pronouncements in monotone, deadpan voices amid beautifully composed settings.

The organization of the film, jumping back and forth in time, is distracting. But the subject is never less than enthralling.

There are so many ways to go wrong with this story, which we are told was inspired by an unidentified real father and son. Writer/director Uberto Pasolini does not let that happen, relying on the most ordinary details to take on greater and greater weight.

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.

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 documentary’s skillful use of archival footage connects us to Tucker’s extraordinary talent as a singer and her vibrance and magnetism as a performer, adding poignant context to the present-day scenes, showing her often faltering, trying to hide her vulnerability.

Conclave is smart, provocative, sometimes funny, and determined to make us rethink our initial impressions. It challenges us to challenge ourselves and is wildly entertaining, one of the year’s standout films.

A sympathetic, lay­­ered portrayal, rich with detail, that earns its more complex and resonant conclusion.

No one mentions it explicitly in the movie, but this film could be in the curriculum of a grad school course on Critical Race Theory, which is not, as some confused people claim, about diversity training in corporate offices or amending history books in grade school.

The screenplay is painfully incompetent, the comedy is puerile, and the direction limps along like a set of disconnected skits, with no sense of pacing or rhythm. It is genuinely painful to see some of the most talented and appealing actors in Hollywood, including Justin Long himself, wasted in a movie that shows such a lack of respect for the audience.

It’s too bad this is not on a big screen, because the settings are filled with enticing details that bolster some of the weakness of the screenplay. Even on the smaller screen, though, the fresh, female-led take on the traditional tale, including a bit of a sisterhood-is-powerful twist near the end, makes it worth a watch.

After the pure joy of the musical numbers, the best thing about this movie is that even with all of its abundance it leaves you wanting more.

Joss Whedon’s take on Shakespeare’s classic tale is swanky, sexy and sophisticated, as bracing as a dry martini poured from a silver shaker on a summer night.

It is really three movies in one, all watchable, but the pieces do not always mesh.

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.

The show is smoothly staged before an appreciative audience, with well-chosen theatrical touches.

Like its predecessor, this film is perceptive about these impressive young women who display dedication, seriousness of purpose, and genuine public-spiritedness.

The sumptuous settings, elegiac tone, and Krieps' layered performance bring us into the world of this woman caught between the expectations of her culture and her own desires.

A compilation of quick clips at the end is not entirely persuasive about O’Connor’s impact, but her story and her voice are impact enough.

Shields’ story is inspiring, beyond the training montage, the matches and medals, and the pep talks from Crutchfield. The film has a spacious generosity toward all of its characters, even Shields’ parents, reflecting her commitment to her family and community, as deep as her focus on winning boxing matches.

The subject is one of the most innovative and influential composers of all time but the documentary that tells his story is very conventional, with chronological archival footage and talking head interviews given by the composer and his co-workers.

As in another autobiographical memory movie about schoolboys, Louis Malle’s “Au Revoir Les Enfants,” Armageddon Time is the story of childhood innocence as remembered with regret and a sense of responsibility, with adult recognition of history’s vilest bigotries and injustices.

The best part of a documentary like Fiddler's Journey to the Big Screen is how it peeks into the thinking of those rare people who can piece together the impossible movie jigsaw puzzle, in order to show us our world, our community, our families, and ourselves.

The film’s embrace of compassion and forgiveness for everyone is heartwarmingly spacious. It shimmers with grace.

Miranda, who starred as Larson in a theatrical performance of this play, directs the film with a deep understanding of the passion, struggle, and ebullience of an artist committed to an art form that requires a lot of money and a lot of other people to be brought to life.

It is in no way a criticism to say that this is a solid, conventional film, skillfully made.

This documentary is about resilience and advocacy, but most of all it is a love story.

Robert Browning promised that old age would be "the last of life for which the first is made." But in Some Kind of Heaven, a documentary about a retirement community with a population the size of New Haven, we see that for better and worse and despite the best efforts of all involved, the last of life is filled with many of the same uncertainties, conflicts, loneliness, and fears of all the other ages.

As a screenwriter, Kerr has a deep understanding of her characters and the complex dynamics of the relationship between Ben and Beth.

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

Health care is unquestionably one of the most complicated problems the government ever has to grapple with, even without the obstacles and obfuscation from dark money and corporate lobbyists. We do not need a briefing book, but the film would be more effective if it clarified some of the priorities Barkan and his group are advocating.

It is a story worth telling. But Bernstein cannot bring himself to apply the same brutal honesty to his subject as Ungerer does to his.

This film is exceptionally skillful in matching the footage to the commentary in thoughtful, illuminating, and often touching pairings.

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

By the end of this film, you might think that understanding trees on such human terms is not even close to doing them justice.

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

The Sheep Detectives brims with charm, wit, and a twisty murder mystery that can only be solved by the most endearing set of farm animals since Farmer Hoggett said “That’ll do” to Babe the pig.

This is a smart and loving movie about female friendship.

This film's message that it's truly better to give than receive is especially timely, combined with the now-nostalgic images of maskless people crowding together and giving each other hugs.

It has all the gloss of a Pottery Barn catalogue and all the depth of a "hang in there" greeting card, but if you are in the mood for a sad story about very attractive people learning to get the most out of the time they have, it will do.

All of the participants have broad and deep experience, and it's fascinating to see them work through their options.

Chen is influenced by the French New Wave, and there are echoes of "Bande à part" and “Jules and Jim.” But do not let the meandering series of scenes, underscoring the characters’ aimlessness, allow you to overlook Chen's precision in even the smallest detail.

There's a sweetness to this story that reflects Adam Sandler’s real-life love for his family.

The Pivens, who literally grew up together and made this as a passion project, have a shared vision, and a level of comfort and communication that brings sincerity and authenticity to the performances at every level.

The personal is political, but in this film that case is made more powerfully with the personal story than the flurry of clips or the theories about history.

It is a compelling story, and the film is a combination of spectacular scenery, arduous exertion, inspiring pep talks, adolescent rebellion, emotional confrontations, and lessons learned by both the teenagers and their leader.

Nellie's world may feel scrambled, but McKendrick knows where she is going and how to take us with her.

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.

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.

This is very evidently a personal story for the people who made it, a heartfelt note of thanks for the fresh start they found in their new home, and for all fresh starts and the people with the courage to find them.

As Sergio and Chucho share the names of the teachers who inspired them, we see Chucho begin to reconnect with what led him to become an educator. If we are lucky, we have at least one teacher in our past who showed us what we are capable of. If not, Sergio can help remind us that it is never too late.

For those who are open to its challenges, it is a meditation on time, loss, and connection, and almost a century later, those themes are just as vital as they were when Eliot wrote them.

Julia Louis-Dreyfus gives a performance of breathtaking vulnerability as the mother of a dying teenager in “Tuesday,” a film that tells the story of the most shattering loss of all without melodrama or a score filled with syrupy strings.

"Colorful" is not a colorful enough word to describe a fantasy movie musical so maximalist that even the title is overstuffed.

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

A twist that brings together native myths and modern challenges is at first surprising and then surprisingly satisfying. We leave the film feeling like we've found some 'Ohana ourselves.

Hedges has a gift for bringing us into the lives of characters in even the briefest sketches with the strong support of an outstanding cast.

We cannot help wishing, as we do so often in watching what passes for news these days, that this story was told with more insight, context, and, well, focus.

The flashback scenes are not as compelling as they try to be. The Hopkins scenes are more engaging, not just because we look forward to the re-enactment of the television reveal, but because the film is sharper at addressing the existential issues of purpose and meaning than it is in showing us the difficulties in rescuing the children.

Stewart and Erskine light up the movie with vivid, layered, authentic performances that capture our interest but throw the movie out of balance. One more screenplay draft would have been worthwhile; there are glimmers of a better version that create some optimism for Angarano’s next film.

This movie shows us the teamwork, the dedication, the national pride, the astonishing vistas, and the reason that Purja and his team deserve to be as renowned as Sir Edmund Hillary, maybe more.

If they gave Oscars for bringing underwritten characters to life, Hathaway and Galitzine would be contenders.

The Sapphires is clearly a labor of love for all involved. It's also a warm tribute to four women for whom success as performers was just the beginning.

Watching the scientists research the mysteries of humpback whales is an inspiring tribute to the power of curiosity, purpose, and the triumphant joy of adding one more piece to the jigsaw puzzle of knowledge.

Mary Tyler Moore knew how to play confident, happy, honest women early in her career, and it is good to see how she finally learned how to be one.

There are two good reasons to watch “Better Nate Than Ever.” First, it is smart, fun, and funny, a great movie to share with the family. Second, becoming a Rueby Wood fan right now will make sure you will not miss a moment from a performer who is already a master of comedy, drama, singing, and dancing.

Touching on issues of identity, integrity, and grief, “Swan Song” never feels formulaic due to the complex, committed performances of its stars and the thoughtful exploration of the issues it raises.

Screenwriter Jim Beggarly deftly combines believable characters with a solid narrative structure.

Dog Man, based on Dav Pilkey’s popular series of graphic novels for kids, is sublimely silly, a mixture of comedy, action, and heart, all done with such high spirits it seems effortless.

For this team and their coach, the long game is about whatever it takes to play and get on track to a championship, even if that means smiling at insults and swallowing their pride when the competition cheats. Ultimately, though, it's not about golf but about dedication, resilience, and the joy of finding you can do better than your dreams.

Garcia and Estefan and all of our feelings about weddings bring so much warmth and good humor to the movie that it calls for a "yes" on the RSVP.

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.

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

Enola Holmes (Millie Bobby Brown), the younger sister of Sherlock Holmes (Henry Cavill), returns in this cheeky, breezy sequel that's better than the original. The character has a better sense of who she is, and the movie spends less time on explaining, more time on action. The mystery at its center is inspired by a real-life event that is genuinely inspiring.

Director Haroula Rose, who co-wrote the film with Coburn Goss, gives it a leisurely, lived-in feeling. The actors, especially Baker, bring layers to the characters that hold our interest, earn our affection, and make us reconsider Tolstoy—there is more than one way to be a happy family.

Anthony is as good at upending expectations as he is at upending opponents on the mat. If this movie would rather meet our expectations, it does so with sincerity that makes it a slim win on points.

We can never quite settle into the connection to the couple because while it makes it indisputably clear, despite some claims of Photoshopping, that they really do scale the tallest and most iconic structures in the world, there is a discomfiting artificiality to the storytelling.

It is remarkable how often movies, which usually take years from the first word of the script to the opening date, can be uncannily timely.

Juan Pablo Di Pace’s movie about memory, longing, time, and family is like a set of Russian nesting Matryoshka dolls.

The Electrical Life of Louis Wain has the same problem as its real-life subject, in that it goes off in too many directions at once.

Writer/director Liz W. Garcia plays it safe here, with a result that has no surprises but is effectively entertaining, thanks largely to Roberts’ performance, which she seems to be enjoying so much it would be impossible not to enjoy it with her.

Kuras understands the unique position of the photographer as intrusive but unobtrusive, sensitive enough to see where the story is but removed enough to maintain observer status. However, as for more about who she was, Miller stays frustratingly out of focus.

Sometimes we just need a nice, cozy movie featuring a heartwarming true story and actors with British accents. And if Bill Nighy is one of them, well, that's just a bonus.

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.

Director Matthew López makes an impressive feature debut with Red, White & Royal Blue, a love story that skillfully blends the familiar beats of a classic movie romance with the distinctive details of two of the world’s most public young men trying to keep their relationship private.

The superhero power of this movie comes from its endearingly offbeat characters, goofy humor, and gentle insights about finding optimism even when things go wrong.

Most Holocaust dramas show us the trains, the barbed wire, and the starving prisoners. This movie shows us what happened before, making the story real by making us identify with the people who were lost.

Barron’s Cove is a pulpy thriller awkwardly tied to a soapy story of bad dads and the wreckage they leave behind.

A Boy Called Christmas is a resplendent Santa Claus origin story with a star-filled cast, sumptuous visuals, and some melancholy details to keep it from being too sugary.