Night Moves is an unexpected pleasure, offering more than what we expect and taking its time to deliver.

Herzog’s longing for the ideological purity in which these lives are lived, free of paperwork and bureaucracy, taxes and technology, drives the film, which lacks an overall story arc. And that longing makes the title’s veracity a little suspect.

If you want pinpoint accuracy, watch a documentary. If you want to see top-notch actors inhabit characters in genuine and ultimately moving ways, The Duke is a much better option.

At 2 hours and 17 minutes, the film is a little bloated, though the expansiveness and inventiveness of the filmmaking make that sound like complaining about too much dessert.

Ordinary Love is not a movie solely about cancer. It is a raw, on-screen adaptation of what hundreds of couples experience when their limits are tested — physically, mentally and romantically. This film, like the love these couples have for one another, will stand the test the time.

Weird” is one word for it, and it certainly applies. But so does “creative,” “inventive,” “compelling” and, finally, “good.” Dave Made a Maze is all of those things, a one-of-a-kind movie from director and co-writer Bill Watterson.

Minions: The Rise of Gru is the perfect movie if you’ve been needing a moment to just laugh, no matter what age you are. Yes, it is an animated film that will appeal to kids for sure, but it's written with adults in mind, too.

One reason it works so well: The film always looks believable, and it’s easy to get wrapped into Singer’s fairy-tale world.

John Wick: Chapter 4 is not a great piece of cinema, exactly, but it delivers on what it promises, time and again.

Hill isn’t offering a sociological treatise. Mid90s is all about lived experience. It’s about a place and a time and offers little inkling of its characters’ futures.

[Washington's is] a tremendous performance. It's when he is on-screen (most of the time) that Zemeckis' film really, if you'll excuse the expression, takes flight.

The film is quiet, patient, allowing for lived-in performances that get at the enormous change in the characters' lives.

There are laughs aplenty, some disgusting, some rather sweet, some both at the same time.

What elevates this sequel are stakes.

Things go from far-fetched to insane before it's over, and Vaughn wisely keeps the pace at a healthy clip. But never underestimate his power to floor you.

A delicately balanced, mature drama, What They Had portrays a family devastated by Alzheimer’s with accuracy, empathy and respect, capturing both the heartache and unexpected tenderness of caring for a loved one coming slowly undone and the familial bonds that are tested and forged in the process.

To call Armstrong’s story a tragedy is probably an overblown notion. But it does involve sadness, not just with its depiction of a fallen idol, but with the necessary acknowledgment that some of our own hopes and dreams fell alongside him.

To watch Cage ride this rollercoaster of popular culture is a pure delight. It’s also agonizing and will make you squirm.

Sweeney stepping outside her popular roles as a rude, blonde teenager in "White Lotus" and "Euphoria" shows just how dynamic she is as an actress. Her range is the highlight of this film, which occasionally fell short when diving into more serious themes and dragged a bit in the middle. That said, "Christy" is worth watching, if only to see an almost unrecognizable Sweeney flex her acting muscles.

Nebraska is as cold and unforgiving as its setting, yet just as stunning.

A compulsively watchable look at Rivers.

This “Mamma Mia” takes a lot of the original’s qualities and then amplifies them to the nth degree. It’s bigger and crazier, and the emotions actually seem to run a bit deeper at times.

Terri is almost an anti-teen-coming-of-age teen-coming-of-age movie. And it's terrific.

Director Marielle Heller delivers a solid movie with fantastic acting, creativity and engagement.

The cultural specificity and fiercely patriarchal setting sets Mustang apart. It’s a timely reminder that, even still, there are few safe havens in the world for a free spirit.

It’s a messy story, but with Mann’s structural rigor imposed upon it. That is a powerful combination, and one that makes “Ferrari” a bizarrely compelling entry in the Mann canon.

Never miss a chance to see Helen Mirren. You certainly could do worse as far as movie advice goes. Mirren may not be the only reason to see The Last Station, about the final year of Leo Tolstoy's long, eventful life, but she's the best reason.

Rarely do you find a Gen Z movie that doesn’t make the group seem so insufferable. This film shows the struggle of modern dating during this time, at this age.