Peter Debruge

A wild buckle-up-and-blast-off adventure that plunges every corner of kids' favorite subject.

Dumas was a master of the serial form, and this version of “The Three Musketeers” manages to preserve that thrill-to-thrill sensation. The experience leaves you wanting more, though it’s probably better suited to binge-watching in its entirety.

Celebration doesn’t feel entirely fair, but it’s a priceless addition to our understanding of how Yves Saint Laurent — the man, the myth, la marque — operated: a flawed film whose mere existence makes it essential viewing.

Exasperatingly low-key ... This is no time for subtlety, and yet Green’s film feels so restrained, you’d think she was afraid of being sued for slander.

The questions may not be pre-approved by GLAAD, but they’re coming from a trans woman actively working against the usual feel-good talking points; the responses she gets are frank, funny and frequently shocking.

Flashy, fleshy and all-around impossible to ignore, Hustlers amounts to nothing less than a cultural moment, inspired by an outrageous New York Magazine profile (which serves as the sturdy six-inch stilettos on which the movie stands) adapted by writer-director Lorene Scafaria at her most Scorsese, and starring Jennifer Lopez like you’re never seen her before.

Dumont has studied the media enough to get in a few genuinely effective jabs, though it’s hard to engage with the half of France that concerns itself with her private life since she’s such a cold and inscrutable character.

Sweeney recognizes that some of his laughs could be in poor taste, but isn’t shy about casting himself as a weirdo, when such discomfort can point the way to deeper truths.

We should be grateful that it exists, if only because it affords a long-overdue leading role to Kelly Macdonald.

Conclave is one of those rare films that respects the audience’s attention, even as it sneaks a few tricks behind their backs.

It’s not every documentary that can so exhilaratingly make us feel a part of something so special.

To get the desired emotional reaction, The Painter and the Thief proves able to deceive in ways that are best discovered for yourself. It works: In a genius final stroke, Ree pulls back to reveal the entire canvas, putting key aspects of this unconventional portrait into startling new perspective.

At this finely tooled tragedy’s core towers Emilie Dequenne, no longer the feral young thing seen in 1999′s “Rosetta,” but a trapped animal pushed to devastating extremes.

This may be Schamus’ directorial debut, but he’s no amateur, and his experience — both in cinema and in life — comes through onscreen.

Fox is a charismatic guy, and even though his personal story has been overshadowed by Parkinson’s disease, Guggenheim’s upbeat and ultra-polished documentary reminds what a peppy, relatable personality he was — and is — on-screen.

With A Different Man, Schimberg attempts — and mostly succeeds, with deliciously awkward results — to cram a lifetime of thoughts about beauty and ugliness, attraction and disgust, identity and performance into a postmodern meta-film mold that few (apart from Charlie Kaufman, perhaps) have managed to make tolerable.

Sr. packs a wallop in the end, when it comes time for father and son to say goodbye.

In the end, Kajillionaire is less about the con than it is the connection, and we’re all the richer as a result.

With My Flesh and Blood, Karsh finds a worthy subject in the constant day-to-day challenges facing a truly extraordinary family.

Hardly anything in Top Gun: Maverick will surprise you, except how well it does nearly all the things audiences want and expect it to do.

The film, at least, feels fresh, making geek history more entertaining than it has any right to be.

With his stellar indie family adventure Sketch, commercials director Seth Worley has come up with a creative — and highly teachable — concept for his feature debut, using imaginative visual effects to impart a valuable lesson about dealing with grief and other strong feelings.

While this Kid isn't up to "Spy Kids" standards, the good news is the film hews closer to the high-concept kids' movies of the 1980s than to all that Disney Channel goo that's been repackaged for the big screen lately.

Wang does a nice job of balancing his naturally comedic sensibility with serious insights into how he triangulated his own identity at Wang-Wang’s age.

The movie’s pulse seldom rises above resting, but the director invites audiences to dive as deep as they want to go into the film’s themes, to read subtext into body language, silence and the space between characters.

Although García and Moore were born in the same year (under the same sign!), Lelio is more mature now than he was when he made the original film, and he brings that experience to the project in small but crucial ways.

The filmmaking pair don’t stray far from Wills-Jones’ intention, using the story’s unspecified time and place to poke fun at superstition, the pressures to conform and the institution of marriage.