It clings to your psyche, a parasitic creepy-crawl of anxiety that will test the viewer’s own ability to get a good night’s sleep long after the closing credits fade to black.

This artful documentary about renowned Tokyo sushi master Jiro Ono is not going to help save Charlie the Tuna one iota.

[DaCosta] may divert the series from its withering dissection of the green and pleasant land’s self-image, but her absurdist perspective on this inherently absurd franchise is still undeniably entertaining.

A deeply soulful film, shot through with loss, regret, and hope. Like almost all great sci-fi films it’s less about the alien unknown than it is about the human condition.

This Tim Robbins-helmed political satire about demogougery makes for an appropriate election-season re-release.

But for all our Tony Montanas and Pablo Escobars, both imagined and real, I guarantee you have never seen a drug-trafficking movie like Birds of Passage.

Works best when it works its mournful magic alone, without fanfare, using only the flickering fear in Cole's gaze as it meets the compassion in Crowe's.

If there's one error, it's that there are almost too many laughs. Cannon keeps the pace up, and some of the smart one-liners from the script by Brian and Jim Kehoe get stamped on in the race for the next gag.

Most of all, Missing Link is a perfect addition to Laika’s thoughtful blend of action, adventure, and heartfelt tales of growing up.

If only Cartel Land were as rigorous in its thinking as it is in its filmmaking methods, the film might strike an even deeper blow than it presently does.

By the end of this tight and timely documentary – once again, we’re a nation in chaos, breeding some ridiculously fine rock & roll while the world burns.

Emotionally urgent, The Living End excites you about the state of independent filmmaking; it's a road movie that leaves a skid mark on the psyche.

Kids are going to love it because it’s fun and they’ll be able to spot the different nursery rhyme characters. This adult loved it because it’s funny as hell and the performances were great across the board.

Sweetgrass’ unbroken shots of often-repetitive activity have a beguiling quality to them, their very monotony encouraging a deeper absorption and reflection, but hard facts aren’t easy to come by.

An incredibly evocative film and one of the most evocative neo-Westerns of the past decade.

Buoyed by pitch-perfect performances from the cast (Schubert especially nails the insufferably delicate masculinity of Leon), the film balances its humor and pathos with a natural ease, ending with a satisfying conclusion. All qualities of any good story.

The film’s light hand, appealing style, and simple exposition make it an eminently watchable inquiry into the politics of food and public health, accessible to the documentary-shy and wildly appropriate for older kids, who may further respond to its generational emphasis.

Keeping the camera on Fournet and Garland may reduce the screentime of the actual humpbacks, but Xanthopoulos is more interested in the research process, the passion and devotion the two have for their work, and capturing not just the thrills and the agony, but also more contemplative moments of of reflection and motivation.

The micro-homilies proliferate, the stagy drama heightens, and subtlety gives way to a little pandering. You can forgive these transgressions – there’s never any doubt that Branagh has put his heart into this endeavor – but they keep it from achieving greatness.

With its wonderful veteran cast, its heart on its sleeve, and a love for the landscape that suffuses its technique, Don't Come Knocking is a peculiar but rewarding escape.

The Iranian production There is No Evil (Persian title: Satan Doesn’t Exist) may not revive the portmanteau film to its former glory (the comic 1963 Italian Oscar-winning trilogy Yesterday, Today, and Tomorrow being a stellar example), but it’s a comparatively solid quartet of short films that critically examine the country’s dehumanizing system of capital punishment, putting a human face on the citizen-executioner asked to carry out the all-too-frequently enacted death penalty.

Teacher’s Pet feels more like Ren & Stimpy's John Kricfalusi on a mild dose of Prozac, and I mean that in the very best way.

Cuartas tenderly catches the scenario at the end of the road, leaving only the question of who, if any, will be able to walk away. Not that their existence is tenable for anyone that crosses their paths, and Cuartas' script gives plenty of space for the core trio to explore their tragic roles in this disaster.

But for all the film's griminess and doom, bad behavior and bad luck, it's hope that engines Head-On.

For the incomparable Streep, it’s yet another performance in high C.

At the end of the day, Johnston's childlike stream of unrequited love landed him on MTV, Atlantic Records, and now a feature-length theatrical recounting of his life. Take that, Satan.

The title, with its built-in weightiness ... well, it’s a tall order, one this latest Pixar animated feature falls just short of. The dominant mood here is not so much soulful as spirited, which is still better than most – and a most welcome gift.

Remarkable debut feature by New Yorker Ben Younger.