Roger Moore

The musical comedy whimsically and often cleverly revisits the characters, their shtick and and the TV show and movies that made them most famous.

But what sticks with you are the beautiful shots of kelp forests and otters, ponds seen from the bottom up, Africa and South America both threatened and, when “corrected,” healed. That’s the upbeat message that Carroll identifies in the opening moments of the film.

Incendies is occasionally compelling, but also overlong and vexing in the ways it draws out a "shocking" conclusion that we unravel long before the characters do.

Mensore gets it right and tells a story validated by journalism and every trip through the region and everybody you know who lives there.

In Wang, we see a stoic Everyman, straining to defy time like the rest of us, working so hard he sometimes forgets to dye the gray out of his hair, trying to keep his head about him even as his agent breaks down in tears.

The Descendants lets Payne show us the Other America and the Other Americans - little lives caught up in small but epic problems far away from the La La Land of Hollywood hype, sex and violence.

This may not be the “definitive” Capote biography. Perhaps PBS will be the one to get around to that, some day. Burnough’s still made an entertaining and generally brisk overview of the career and the life of the most famous writer of his day.

Mr. Holmes is an elegiac, understated tale of The Detective in Winter, a rare thing in its own right.

Zeroing in on Carr as the movie's "hero" was a smart move. He comes off as smart, confrontational and unconventional.

Here’s a clever, sideways take on the grimmest of human horrors, a clever parable that delivers the same heavy message, but with mordant wit and originality.

In a genre - the animated holiday film - already overflowing with the sentimental, the silly Arthur Christmas is a most welcome treat to find stuffed into the cinema's stockings this holiday season.

Fremont is a droll comedy about the immigrant experience that only has to hint at the trauma such uprootings often involve, and about how residents of the host country generally don’t have a clue about what this newcomer is dealing with, or how to help.

A low energy romance, a movie that rewards a filmgoer with the patience to let this affair play itself out. Sink or swim, Connie and Jack will come out of this changed. And so will we.

Many moments will make you avert your eyes.

Jennifer Bagley’s debut documentary is an upbeat portrait of best friends propping each other up, urging acceptance on each other’s families and ensuring that even as they transition, the road to “it gets better” is a short one.

The film’s unblinking and unfiltered look at the indignities and horrors of ALS and its impact on a loving marriage is without parallel.

Ahed’s Knee isn’t as sexy, satiric and light as its Felliniesque opening promises. But Lapid manages to make a lot of points about the creative person’s life in modern Israel, the sensitivities triggered and the moral quandary a thinking Israeli finds her or himself in.

Havelka’s not-quite-farce reminds us of how important “rules” are,” and how bad actors can bend them into obstruction, how important civility is and how pointless it is for a gay man or anybody else to try and explain “solidarity” and group action to the dogmatic, the dim and the determined-to-do-nothing.

Incredibles 2 is a superhero action comedy that’s about something, and when’s the last time the moneychangers at Marvel could make that claim?

It’s a good film. Will families gather round whatever video streaming device extant to watch it 60 years from now, the way we have with the 1961 film? No. This “West Side” is good, not great...But the joyous, moving and racially-charged show “West Side Story” has always been still makes this a must-see movie for the holidays and a worthy successor to a classic.

In Spanish with English subtitles, has a lovely, big budget sheen (Shlomo Godder was the cinematographer) and a cast that plays this as documentary real.

This is a movie that lets us understand the foibles and dark underpinnings of a movement that seems to have transcended removing itself from “this world’s” everyday concerns to embracing the ugliest elements of its dogma — superstition, dogmatic intolerance, “control” and a disregard for any American or American institution that doesn’t fit their myopic worldview.

Prisoners is never less than engrossing. It’ll keep you guessing. It’s just too bad that the last thirty minutes make us feel like the prisoners, here.

Gladstone carries the picture as a reactor — to the stories she hears from this waitress, that grandfatherly distant relative, the bride-to-be. But even those reactions are subdued.

Camargo puts a sympathetic face on a statistic, an innocent child targeted, and the collateral damage that spills over from that shatters lives, limits futures and has blowback that the online anti-immigration zealots can’t begin to fathom.

Writer-director Blichfeldt’s debut feature is more cringe-worthy than laugh-out-loud funny. She picked obvious targets. But there’s a lot to be said for having the audicity to “go there” and go gory when you’re sending up the ugly open secret that “Beauty is pain,” that it’s a trap and that it’s well past time to stop taking fairy tales with princes and “Sleeping Beauties” at “children’s story” face value.

In Mary, Leigh has found the polar opposite of Sally Hawkin's giggle-through-the-pain heroine of "Happy-Go-Lucky."

Epicentro is a lovely new tone poem to Cuba, as it is now, the Cuba behind the propaganda from within and without.