The film is unapologetically sweet and hopeful, but it's said the heart's true home is the water, that its nature is to bob atop the cares of the world like a wooden cradle on the waves.

Julien Temple gave Shane MacGowan exactly the documentary he deserves – unruly and full of heart.

Wisely, a lot like the real event. No answers are given, barely any questions are asked, and the film unfolds at a leisurely, inexorable pace that stymies the traditional filmmaking tropes of tension and release.

The result is total immersion in the moment of the music, sure to send jazz fans over the moon.

Taylor Swift: The Eras Tour is bound to be a blast for anyone who has been moved by Swift’s songwriting or musicianship no matter the era. It’s an impressive, career-spanning feat from one of our most notable performers that’s worth seeing on the biggest screen you can.

The performances of all the central and secondary characters match the passionate intensity of the film's behind-the-scenes collaborators.

Jim Jarmusch applies his minimalist style to the margins of Memphis as seen through the experiences of three sets of foreigners. Great casting and occasional moments of grace.

Herzog outdoes himself with Rescue Dawn, making his most popularly accessible film yet and proving at the same time that he is among the most daring of all filmmakers and capable -- like his characters -- of almost anything.

Dreamlike, disjointed, and possessed of a stunningly complex sensual and narrative poetry that may confound audiences not familiar with Chinese director Wong's defining stylistic tropes, Ashes of Time Redux is, simply, one of the most gorgeous films ever made.

Second Skin might just be the most accurate and entertaining glimpse of the economy and psychology of technology since Tron.

Everyone has secrets, Hosoda posits, and the internet may play a role in our ability to process them, heal our wounds, and maybe find the person who can save us from ourselves. That he does that through a gorgeous SF-tinged version of a classic fairy tale is not simply a bonus (just those components would have made a memorable new version of Villeneuve's timeless story). It's a vital act of recontextualization, not ham-fisted revisionism.

While Abrams peddled name recognition, Johnson understands that the classic characters have to reignite the torch before they can pass it on, and gives both Leia and Luke defining moments.

A dense, challenging piece, Soundtrack to a Coup d’Etat is more associative than explicative.

Neil Diamond isn't the best actor, and the 1980 version of The Jazz Singer doesn't have the best script, but this movie (love on the) rocks nonetheless.

The more one knows about Holmes lore, the more the film's foreshadowings of future cases will be evident. Set in a boys boarding school, the film's imaginings about the life of the young detective are quite entertaining.

Anyone who wants to better understand the cultural conditions leading up to the civil rights movement would do well to check out The League. But for those baseball fans who are used to charting the history of America alongside iconic moments in sports history, this one is a real treat.

In many ways, A Field in England is a funhouse mirror of audience expectations and something of a filmic Rorschach test.

The great director's masterpiece of bad juju. [Director's Cut]

As anthropology, Out of the Blue is engrossing; as a social document, it is essential; but as undiluted raw power, it is absolute. No filter.

It's an out-of-this-world, real-life adventure for kids of all ages, budding Neil Armstrongs and Ray Bradburys alike.

While grown-ups are sure, at the very least, to respect Into the West's beauty and integrity, it may be a tougher sell amongst the very young where the Irish brogues and the lack of rugged Hollywood heroes and high-tech derring-do may prove impediments. But the aura of magic realism has never felt more tantalizing as it shimmers Into the West.

In the documentary profile It’s Only Life After All, Emily Saliers and Amy Ray of indie folk rockers Indigo Girls convey what they want the audience to experience from their music: self-esteem, a shared experience, and healing, likening it almost to a warm hug from a loved one. And that’s exactly what the film provides.

Kusama’s paint-splattered jeans, her continual need to create, and her singular vision are concepts that Lenz gets through with her very loving film.

It comes as little surprise that Errol Morris and Werner Herzog, both masters of sly documentaries in which the subjects nail themselves with their own words, are the executive producers of Oppenheimer’s film.

It's a veritable shoo-in for an Oscar nod this year, and one of the more disturbing films to come out of a major studio in ages.

Diehl’s performance is a model of restraint; he more often imparts information by a look, a glance, the slump of his shoulders, than he does with a spoken word.

Nothing short of horror-hound heaven.

This is far from the first movie about the perpetual struggle of relating to other people; it’s not even Mills’ first stab at it. But C’mon C’mon is so lovingly assembled and insightful in its thematic concerns that it feels like he could keep returning to that well and find something just as essential there every time.