Nell Minow

It is the story of Dr. Audrey Evans (Natalie Dormer), whose accomplishments in diagnosis, treatment, and support for young patients and their families could fill at least three movies. “Audrey’s Children” manages to combine all three in a solid, often engaging and inspiring drama, anchored by Dormer’s committed performance.

It wears its heart on its sleeve, unpretentious and sincere as a homemade valentine.

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 isolation of the setting, the elliptical dialogue, the inserts of apparently archival anthropological images, and a spare score, sometimes just one sustained note, all give “Hot Milk” a dreamlike quality, the kind of dreams that, at least while we’re dreaming, make more sense than reality.

As aww-inspiring as the human and dog moments in the movie are, it is the human encounters along the search that are the heart of the film.

There are some nice lessons about confidence and teamwork, a more-funny-than-scary villain, and impressive guest stars voicing minor characters, including Kristen Bell, James Marsden, Lil Rel Howery, and Kim Kardashian (as a pampered poodle social media star) and her children.

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.

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.

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

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.

The contrast between the edgy, high-energy songs and the thinly-drawn characters and predictable storyline will make it of most interest to viewers young enough to be unfamiliar with the formulas it never transcends.

The easy chemistry between the characters reflects the real-life friendship of the two stars and it is clear to see that like Emma and Charlie, Haddish and Crystal get a kick out of each other.

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

Stories for children often emphasize courage or teamwork, being yourself, following dreams, or the importance of friends and family. What The Magician’s Elephant adds to that is something rare in films for any age: how to think through problems.

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.

As the conflicts move from the annoying to the existential, the one-room setting is appropriately depressing and claustrophobia-inducing.

There are compelling characters and telling moments.

Familiar, even universal issues of growing up, identity, and intimacy are presented with a lyrical, dreamlike tone.

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

Lasse Hallström’s greatest strength as a director is deep humanity, with compassion for even the most flawed characters. The affection from all three family members for af Klint and for creating art shines through the film.

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.

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.

Gabizon is not making a documentary here or attempting any realism. “Longing” is a manifestation of how grief makes emotions overtake reason and the inherent resilience that sometimes requires you to come back to reality. That reality will be diminished but somehow make you whole.

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.

This is not the best of the family body switch movies, and for sure, it is not the last, but the irresistible concept and outstanding cast make it a worthwhile family watch.

Children new to the story will enjoy some gross-out humor, slapstick naughtiness, and the reassuring theme that families of all kinds, including those we choose, can be devoted to the idea of ohana.

It is an efficient thrill ride, running about 90 minutes, with every moment used as effectively as possible.

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.