As a documentary about Jonathan Gold, the Pulitzer Prize-winning food critic, City of Gold is more or less an entertaining valentine to an interesting guy. As cultural archaeology, unearthing the relationship between food and a city, food and a critic, a city and a critic and a swirling stew of all the above, it's fantastic.

"Whitey" paints an ugly picture, but a compelling one nonetheless, and one that will put every Boston crime movie you see in a different light.

Everybody Loves Somebody doesn’t reinvent the rom-com, but it manages to take the formula, shake it up a bit, and come up with something that feels fresh and inventive.

The Meddler is one of those movies that surprises you by being something it’s not.

Make no mistake, Daniels is gunning for awards here; the movie has that sheen, that Big Important Feel. But the performances keep it grounded. Let someone else decide winners and losers. Just enjoy “The Butler” for the sometimes-moving experience it is.

The Richardsons’ thought-provoking journey leaves you pondering not just the pain and turmoil created by the criminal justice system, but the incredible life-giving strength of love.

Perseverance is the theme of Life, Above All, a drama that is deeply affecting, if also overwhelmingly bleak.

Sometimes a feel-good story hits the spot. CODA is one of those times.

As much as his admirers praise him, they also say they don't know much about him or his private life. Press opens a small window into that world.

This is unhinged genius, an amazing piece of acting. Brutal, yes, but magnetic all the same.

It is intended for an audience that is willing to take a journey without knowing the destination.

The acting in Black Mass is tremendous.

The world Bell creates in In a World ... is so agreeable and inviting you’ll enjoy the visit.

We are daily reminded of the importance of a free media, of free speech. The Dissident is a reminder of how far some governments will go to suppress it.

Peele’s visual audacity is at times breathtaking, and always serves a greater purpose. There is a beautiful overhead shot of the family walking along the beach, carrying their supplies, casting long shadows. There’s no way to know in the moment you’re admiring this that it carries meaning that informs the rest of the film. That’s just terrific filmmaking.

This is a really good movie made by a terrific talent, stunningly shot and confidently directed.

Ma is one loony little horror film, and Octavia Spencer has a grand old time being the craziest thing in it.

Christopher Robin takes a classic story with characters people know and love and breathes new life into them, delivering an important reminder to balance life and all its qualities through strong symbolism.

The heists are bigger, the illusions are flashier, and the pace is quicker. Even the cast is livelier and more fun. Perhaps best of all, the movie captures the first film’s twisty ability to twirl an audience around, so you’re never entirely sure what’s happened until everything is explained.

Even more than an expose of bad reporting and social hysteria, The Witness is an intimate exercise in grief and healing

Dunne's performance is quietly assured; Sandra's strength may waver, but it never falters. You root for her. You root for the movie, something that Lloyd purposely makes difficult to do at times. That’s going to throw some people, no doubt. But she resists easy resolution, making “Herself” a satisfying experience.

It’s clear that Samuel has seen his share of Quentin Tarantino movies, and some John Ford and Sergio Leone ones, as well. There are influences all over the place. But The Harder They Fall is also its own film, familiar in some ways but wholly original. And a whole lot of fun.

It’s a zombie movie that, amidst the giddy bloodshed, allows room for philosophical questions about our fundamental responsibilities to one another. It may not be something we’ve never seen before, but it’s something we can benefit from seeing again.

Rodriguez and Taylor are terrific. Their confidence is infectious, yet they never let us forget the challenges their lives offer.

Winocour has crafted such a tightly coiled film that once violence finally erupts, it's more of a letdown than an emotional release. But the movie still works, both for its bracing ability to keep a viewer on edge and the sheer force of Schoenaerts' performance.

Indignation sneaks up on you, and that may be its greatest difference from the blockbuster mentality. Its explosions are quieter, but just as destructive.

Individually Christmas and Robinson are outstanding. Together they are even better, making Morris from America an unexpected treat.

As a substitution for the tour that never was, this concert film within a documentary does a brilliant job of bringing "Western Stars" to life.