Maintains a breezy charm throughout and contains many extremely funny sequences.

It's a call to arms, a call to pick sides in the deepening cultural, political, and spiritual schism between the two Americas of the 21st century.

A tour de force of modern cinema.

This is basically a Whitman’s Sampler of poor taste, and a tastier one at that.

The Yes Men’s bravery and unflagging sense of optimistically doomed humor – which comes across as a quixotic version of Monty Python by way of Upton Sinclair – is to be applauded and, wherever possible, acted upon.

After 2023’s exalted Asteroid City, as raw and ragged with grief a film Anderson has ever made, anything was going to feel like a comedown. More charitably, The Phoenician Scheme is a palate cleanser – a lovely lark, a spirits lifter.

Sure, Rosie Perez's greedy Muriel is a cartoon and her voice, always at full drill-bit whine, is wearing, but the warmth and graciousness apparent in every frame keep this movie touching and sweet. Give yourself over to this giving film and see what happens.

It’s only in the last quarter of the film, when Wang strays from her own family’s touchstones to explore a case of separated twins, that One Child Nation loses just a touch of its urgency.

Considering how lame the bulk of teen movies made in the late Fifties and early Sixties look in retrospect, Where the Boys Are stands up respectably well.

Like the analogous "Before Sunrise," Weekend manages to ride the line between character study, comedy, drama, and a host of other genres without feeling cramped.

The film animates a number of Escher’s creations, smoothly explaining his methodologies.

Some have remarked that The Post is the story of Kay transforming into Katharine Graham, which is pretty on the mark.

Despite its short running time, Being Elmo is an engrossingly layered documentary.

It’s a fun watch, and familiarity with Los Angeles isn’t required to get a kick out of these toe-dips into Koreatown and Tehrangeles and all the other micro-communities that make the city a macro-paradise for eaters.

Butler's film hopes to confront our national battle fatigue so that we may move on.

This is a family story – of a time, a place, an event, a community – in all its rich and quiet nuance, with all the members, related by blood or by affection, given their space.

Having sat out the first sequel, returning Magic Mike director Steven Soderbergh has made an entertaining enough movie, but it’s the weakest of the series.

Don’t expect any hokey scare tactics here. Under the steady hand of Oscar-nominated director Abrahamson (Room), the film is a calculated slow burn, one that plays a cunning head game with those viewers willing to be entranced.

If Tears is indeed too weird to take America by storm – Miramax bought the film after Cannes and shelved it until it is now being released by Magnolia – it should neither be considered a cult item, approachable only to film nerds (though they will appreciate it best).

Two of Us traverses familiar beats about caring for elderly and disabled loved ones, romance impeded by unclear boundaries, and coming out to family members who may reject you. But by encasing those narratives in such genuine characters and shooting them with compassion and subtlety, Filippo Meneghetti’s feature debut imbues a painful story with necessary warmth.

It’s a cliched happy ending, one you’ve seen countless times before, but never in this way.

This, uh, wonderfully directed and near-perfectly cast iconic heroine female empowerment story is so similar in tone and feel to Marvel Studios’ "Captain America" that I was waiting for Stan Lee to show up, possibly as a eunuch.

The entire cast is marvelous and capable of conveying continents of emotion with a furtive smile or arched brow.

Smart, quick, funny, and economical, Attack the Block is an alien-invasion movie that is a breed apart.

If there’s a complaint to be made about Look Back, it’s that there’s not enough of it: Adapted from Chainsaw Man creator Tatsuki Fujimoto’s one-shot manga of the same name, the story it tells is purposefully contained.

Jackie has a nightmare vibe to it that’s palpable and unsettling, and Portman’s performance as the widowed first lady is a tour de force of conflicting emotions brought on by the impossibly ghastly reality bookending that sunny day in Dallas.

Moments of black comedy break up the melodrama – a newsreel depicts the song's "victims" and a Nazi secretary rages against her Duden grammar manual – but the overall tone is still that of a four-alarm weeper.

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.