Sara Stewart

The sweet-faced Kelly is a lovely and humble storyteller, and her enduring affection for John, Paul, George and “Richie” is palpable.

Bong Joon-ho directed one of the best dystopian thrillers in recent years — 2013’s “Snowpiercer” — and one of the finest monster movies ever, 2006’s “The Host.” You’ll find elements of both in his chilling, subversive new Netflix film, Okja, about a girl named Mija (Ahn Seo-hyun) and her enormous pet superpig.

Finally, a post-“Bridesmaids” film that lets Kristen Wiig shine — and brilliantly taps into co-star Bill Hader’s vulnerable side, too.

Overall, Gibney does a fine job documenting the timeless nature of Armstrong’s fall from grace. It’s undeniably satisfying to see the man himself lay it out: “It’s very hard to control the truth forever,” he says, awkwardly. “This has been my downfall.”

With its gray skies, moody ambience and ominous orchestral score, Thelma fits the cliché about Scandinavian entertainment being dark as hell — in the best way. It’s also gorgeous.

McAdams gives one of the best performances of her career as her character wrestles with the enormous question of whether, and how, to give up everything she’s ever known.

At its best, Love, Gilda intertwines the comic’s own narration — drawn from audiotapes, interviews and journals — with reflections from her current-day admirers.

With one slight wobble toward the conclusion, Ashe’s screenplay is terrific at letting its characters speak and act honestly: His dialogue is heartfelt and realistic. “Sylvie’s” is a love letter to the delights of a well-told love story.

After Tiller is groundbreaking in giving voice not only to the doctors, but to those who always seem to get overlooked in the high-volume political debate about this topic: the women themselves.

Jane's friendship with Sadie is the one thing that cuts through the numbness - though the film's so low-key, even emotional revelations feel pretty muted.

It’s a more somber companion to Marjane Satrapi’s 2007 film “Persepolis,” which explored life under the Iranian Revolution with dark humor: Here, the laughter’s mostly a prelude to tears.

Waititi emerges triumphant, but it’s a nail-biter.

Holy moly, Melissa Leo makes a scary Mother Superior.

Sometimes, it’s enough to walk out of a film with your heart warmed — even if your brain’s still craving a little something more.

In a time when climate news is near-uniformly depressing, this is a nature documentary that pays loving and hopeful tribute to the complex web of life — and it won’t scare your kids.

Here’s a franchise you’d think had been done to death (wasn’t the last webslinger reboot, like, two years ago?), and yet Spider-Man: Homecoming feels fresh and new, an endearingly awkward kid brother to the glamorous “Wonder Woman.”

It’s a feel-good film with a somewhat curdled legacy: You could clip just about any piece of sexist dialogue here, label it 2017 and pass it off as plausible.

Being a lesbian period piece, the film’s earned inevitable comparisons to last year’s “Portrait of a Lady on Fire.” Sure, it’s similar, minus the chemistry, humor and joy. There are definitely corsets in both.

These dynamos don’t need a screenplay to hold anyone’s attention.

Domino, though, is the dregs: This thriller may be randomly set one year in the future, yet it’s hopelessly regressive — a parade of lame stereotypes that feels directed by an out-of-touch Old Hollywood old guy (De Palma is 78).

Though most foreign films are best seen subtitled, the nonstop overexcitement of these anime performances can be exhausting. I’d have welcomed the dulcet tones of Pace, who voices Mr. Suga.

Only the Brave is at its best at two extremes: in the middle of the action, as the firefighters do things like improbably light fires to contain bigger fires; and at home in the midst of banter between Eric and his wife Amanda.

You may well emerge from The Search for General Tso with a hankering for the titular spicy dish.

Not since “American Movie” has there been such an entertainingly clumsy, warts-and-all documentary about making a movie, this time courtesy of Cincinnati filmmaker Tom Berninger.

Under the generous debut direction of Damon Cardasis, there’s enough heart and raw truth here to uplift the moments that falter.

On the whole, though, you couldn’t do much better than Monkey Kingdom to get kids invested in learning about, and protecting, the natural world.

Author is one of the most entertaining documentaries in recent memory — and, possibly, the origin story of catfishing.

Grim but worthwhile.