Sheri Linden

Director Sang-il Lee’s feature is propelled by operatic intensity and visual poetry. It unfolds over three mostly riveting hours, with only occasional jagged lapses in narrative momentum.

Jenkins' one and only feature weaves living history, charged and messy, into a homespun, hopeful tale. It's impossible not to wonder about — and wish for — what he might have done next.

Writer-director Gray's handsomely crafted planet-hopping drama is by turns vividly eventful and deliberate in its uneventfulness, and it feels caught, somewhat awkwardly, between stark simplicity and violent leaps into hyperdrive.

The balance between detail and momentum can at times be off, and the helmer doesn’t entirely avoid generic tropes of the legal drama. But he conveys the enormity of the undertaking at the film’s center — the first major war crimes trial since Nuremberg — and it’s felt in every moment of Darín’s compelling portrayal.

The film boasts a terrific newcomer in the lead role, exquisite widescreen photography and a powerful sense of place.

Aida’s Secrets movingly embodies the traumas that, at war’s end and long after, are inseparable from liberation.

Writer-director Peter Strickland...uses atmosphere as others would use plot, and knows how to provoke comic shudders. But he tends to repeat himself, and he doesn't quite find a satisfying denouement for the inventive premise.

Long deemed unfilmable, the 18th century novel finds the perfect interpreters in director Michael Winterbottom and actor Steve Coogan.

With its intriguing performances, narrative restraint and unanswered questions, the movie delivers a strong pull of yearning as well as tantalizing currents of suspicion and dread.

Sara Khaki and Mohammadreza Eyni, who directed and edited the documentary, with Eyni also serving as cinematographer, have made a film that pulses with so much hopefulness that when Shahverdi’s story takes a shocking turn, it’s a punch to the solar plexus.

A Still Small Voice is about listening for inner truth and bearing witness.

There's plenty of tawdry glamour, exploitation and grime on offer in this tale of awakening, and through it all, the sisters' bond is its own abracadabra.

A lyrical work that’s as bright and captivating as it is poignant.

At first, the writer-director’s onscreen presence feels like an unnecessary distraction, and it could certainly be pared down. But as his interviews push deeper into the situation — and its overlap with the water crisis in Flint, Michigan — his investigative methods and congenial manner of confrontation prove productive, the results compelling and revelatory.

With its fine mix of dark humor, healthy anger and self-compassion, this portrait of the artist as a young woman is the work of an inspired filmmaker, and it was worth the wait.

Filled with beauty and fury, the film offers an immersive portrait of an endangered community.

Attanasio has made a sharp, affecting film that's brimming with darkness and hope, every instant of it vividly alive.

With its long takes and deliberate pacing, Beyond the Hills is demanding but always engrossing, even during its repetitive middle section.

Drljača’s dialogue is sharp and alive throughout the film, particularly so during Mona and Faruk’s first date.

Through interviews with Jonestown survivors and rare footage of Jones himself, this sober documentary presents an unforgettable historical portrait.

Filmmakers Sabaah Folayan and Damon Davis were among those on the front lines of the protests against police violence and their on-the-ground, from-the-heart documentary Whose Streets? communicates that urgency from the inside out — not as news story or social theory, but as communal experience and awakening.

Writer-director Amanda Kernell’s assured first feature has a classic sheen, but with its powerful sense of place and sensitive performances, it’s no fusty museum piece.

This folk tale braids together the primordial and the divine in endlessly surprising ways.

Deep Sea 3D, along with the recent Imax films "Coral Reef Adventure" and "Volcanoes of the Deep Sea," is a glorious example of educational entertainment at its best.

The unhurried film is a beauty. Shooting digitally — a first for Jarmusch and a paradox for a movie that so ardently celebrates the artisanal — cinematographer Yorick Le Saux uses nocturnal lighting to eloquent effect. The titular lovers are beauties too, soulful and captivating. Swinton and Hiddleston make their love story one for the ages.

Whether you call it a relaunch, comeback, return or rebirth, it’s captured in a fittingly down-to-earth, memory-infused documentary that’s a gift to fans — moving, thoroughly engaging, and a chance to see a remarkable sexagenarian at a turning point, doing what she does best.

A film that breaks the musical biopic mold in ways that are sometimes frustrating and frequently exhilarating.

As the filmmaker traces a season of range riding for two exceptionally skilled and resourceful young women, her documentary becomes more than a portrait of against-the-elements fortitude; it poses piercing existential questions about purpose and independence, particularly for women choosing work that has long been deemed the exclusive province of men.