This is a film as powerful as it is painful.

Krisha is a unique film, honest and searing.

It's not a short documentary, running just shy of two hours and 21 minutes. But it never quite feels like it's dragging, owing in part to the offbeat sense of humor but also the sense of discovery.

Jockey, Clint Bentley’s debut feature as a director, is a delightful subversion of the typical sports movie. It’s an assured film featuring outstanding performances, which of course helps a lot.

The storytelling in Linoleum isn’t simple, but the joys of its discoveries are. It’ll make you think, and ultimately it will make you smile.

Using the interviews along with news footage and occasional re-enactments, Moreh conducts a kind of primer in the organization’s history, which is, in its own way, a history of modern Israel. It’s fascinating.

The real hero here is Joss Whedon, who directs the film with a fanboy's enthusiasm and a thorough knowledge of the genre.

The naturalistic style Michod employs adds to the sense of dread.

Watching the film, emotions range from sadness, of course, to frustration to outright anger.

The genius in Wright’s performance and Jefferson’s direction lies in how they don’t succumb to the temptation to overplay anything. Wright gets Monk’s rage just right — it’s internal, though at some point a pressure cooker has to blow.

Yun's performance is genuinely beautiful, a haunting expression of life, of its disappointments and its possibilities, rendered in a way that befits the title.

It's easy to get carried away with movies like this, which lend themselves to fanboy hype. It's not a perfect movie. But it is one that is hugely enjoyable, bears repeated viewings and will be as funny in 10 years (or 50) as it is now. And that's pretty swell.

Bigelow brilliantly builds tension, to the extent that the third version we see is every bit as nerve-wracking as the first if not more so. This is nail-biting stuff, agonizing to sit through.

Brilliant performances from Tom Courtenay and especially Charlotte Rampling make the proceedings all the more genuine, as they bring to piercing life the relationship of two people who maybe don't know as much about each other as they once believed.

It is exceptional acting, and Locke is a tremendous piece of filmmaking.

Cinematographer Darius Khondji gives the film a gritty, twitchy feel. The Safdies give it a story and a pace that never lets up. But Sandler gives it life, and makes Uncut Gems a must-see movie. Just remember: breathe.

Toy Story 3 is very much a worthy entry in the series, a movie well worth making (and seeing). It continues the legacy. It just doesn't expand upon it.

Killers of the Flower Moon is a full-on cinematic experience. It’s rare that a movie that you should see is also one you want to see. This is one.

Villeneuve's telling of her story - and of her children's - is painful, searing and something close to brilliant.

A scary fun-house ride that expertly blends jittery tension and laugh-out-loud humor.

Everything Must Go leaves the resolution open, not telegraphing Nick's future. It is as unsettled as life, and the film is all the better for it.

Hausmann-Stokes won’t let the film get sappy; Martin-Green and Harris ensure it. Instead, it’s an unflinching look at a health crisis, a film that arrives at what it’s trying to say through unconventional means, and is all the more effective for it.

It's a measure of how good a film Nowhere Boy is that it would be compelling even if it were the story of the formative years of a boy named Joe Brown.

There is something fascinating about the intimacy of the camera here that is magnetic. And harrowing. And frustrating. And maddening. And a little sad.

A fantastically entertaining movie.

Like its stars, the film's not particularly flashy, it's just good, and it's hard to find fault in that.

The look of the film is amazing. The animation, particularly when the dragons take flight, is seamless.

Some people will find Miranda July's film a poetic triumph, a meditation on responsibility and disappointment. Others will find it hopelessly pretentious, one of those movies only pointy-headed critics can abide. I found the film to be more of the former than the latter. Except when the cat talks.