An abundance of feeling plays across the faces of his two leads; Cartlidge and Steadman bring to light every flicker of awkwardness, indecision, anger, regret, joy, admiration, and affection felt by Hannah and Annie.

Until things devolve into a stormy conclusion, Dheepan is a sharply observed drama about identity and separation, strangeness and commonalities, and making do while hoping for something better.

Nelson has gifted us with a thoughtful and rich profile which, like a fading note escaping from Davis’ trumpet, leaves us wanting more.

This film is a pleasurable experience, but it’s a frustrating one as well. There’s a nagging feeling we should expect something more from this guy. To borrow the most quotable line of dialogue from "The Room" (bellowed at the top of the lungs): “YOU ARE TEARING ME APART, FRANCO!”

Provides no revelations and left this viewer, at least, puzzling over whether the picture Cunningham has allowed to develop of him is completely transparent or utterly impenetrable.

As Lo and Behold anecdotally lays it out, in the blink of the eye of human history, this invention has become essential, and in another blink – a solar flare, or cyberwarfare – its failure could trigger a civilization’s collapse.

All Light, Everywhere’s roaming tangents always return to the heart (or the eye) of the matter, and that skill of orchestration is no mean feat.

There's a genuine sense of loss when dreams go unrealized, and in these moments Dig! transcends the typical "rock movie" format and aspires to something greater: an examination of why we create and what we receive from art.

Dipping between English and Irish, and borrowing wholeheartedly from the fictional music doc/concert format of A Hard Day’s Night (hey, steal from the best), stylish musical comedy-drama Kneecap the movie is an accurate-ish biopic of the real Kneecap, with Dochartaigh, Annaidh, and Cairealláin playing themselves.

At one point, a rapt concertgoer enthuses about Russell, “The guy’s a gas!” So, too, is this thankfully restored film.

Iconoclastic British environmentalist and sculptor Andy Goldsworthy doesn’t experience the world in the same way the rest of us do. Using more than just the conventional five senses, he profoundly intuits his surroundings as if in a meditative trance, mentally and physically absorbing the details of his environment like a forensic scientist in the pursuit of a unique artistry that’s brought him worldwide acclaim.

At times, it looks as though Broken Embraces might be the love child of Douglas Sirk and Alfred Hitchcock, with its dramatic broad strokes, iconic reds, and teasing narrative clues.

The story is simple and true-to-life, and the technique is naturalistic, using nonprofessional actors, photography that emphasizes the characters' environment, and deliberate narrative pacing that mimics real-time events.

Maggie’s Plan is an ensemble piece, with Maya Rudolph, Travis Fimmel, and a magic, romantic New York rounding out the cast. They’re all great, but it’s Gerwig who’s just so damn gosh-wow.

The movie demands to be watched and rewards that attention handsomely, though at times Heavy seems a little too introverted for its own good.

A confident return to the kind of teen comedy that's funny without being raunchy, youthful without being juvenile, and reflective without hitting you over the head.

Filmmakers nicely mix the historical and the tributary, honoring both Bennett's cultural landmark and the dancers who dream of joining its ranks.

It’s muddy, bloody, and studded with amputated limbs, yet still rather generic-feeling; it lacks the visceral impact of Joe Wright’s version of Western Front atrocities in "Atonement."

The characters’ painful inability to connect only endears them to us, and somehow the film seems, like any human object of our affection might, more vivid and more knowable in its absence.

White couldn't stay away, and neither can the band's legions of fans, who bop up and down in sold-out arenas at the reunion tour that provides the film's hopeful coda.

Gary Oldman and Chloe Webb dramatically and unforgettably burst from nowhere onto the screen with their searing portrayals of Sex Pistol Sid Vicious and American groupie Nancy Spungen. Their performances in this embellished docudrama are so intense and definitive that they leave little room for any other memories of these doomed junkie lovers.

There’s an intriguing story to be told here, but there’s a better way to tell it. To borrow from the Bard, the spots in Lady Macbeth simply won’t wash away.

As with all of Lee's films, there's much more going on beneath the surface than is immediately apparent.

The very best animation can excite the senses and inflame the imagination. But Chico & Rito's charmless line drawings just made me wish the film was live-action instead.

It’s an understated performance in many ways, but in those quiet moments, whether it be a new haircut or a tapping foot, Ebrahimi provides an astonishing education of what it means to be a woman fleeing an abusive relationship.

A wicked return to form for Murphy, who absolutely nails Moore’s straight outta West Hollywood brio and never-say-die single-mindedness. It's an often uproarious glimpse into microbudget filmmaking and the fearless badassery of the man they called Dolemite.

Guardians of the Galaxy is an outlier: a space opera in a largely earthbound movie cycle (excepting the occasional red-eye to another dimension in the Thor pictures), candy-colored and bopping where the other Marvel movies are muted and imposing, and the funniest one to date, without a doubt.

Although there are moments that push the story a bit beyond credulity, Shortland has created something remarkable by forcing us to find within ourselves sympathy for this would-be Aryan princess.