There’s not a lot of depth to Keep an Eye Out, but there is a singular vision at work and at play.

A tribute to the power of imagination and storytelling, and it’s like nothing you’ve seen before.

Marla Grayson is less a three-dimensional person (or even an interesting two-dimensional one) than a symptom of a sick society. And symptoms wear out their welcome pretty quickly. That shallowness renders Marla’s sexuality and stated feminism cynical rather than ironic, and it turns I Care a Lot into a lesser Coen brothers movie: No Country for Old Fogeys.

The director is Lee Daniels, of Precious (2009) and The Butler (2013), here evoking the historical era and its figures with verve and intelligence but unable to find a dramatic center other than his electrifying star.

Nomadland balances with spine-tingling grace between respect for that restlessness of spirit and longing for a society that has any notion of how to care for it.

Clever and bright, Days of the Bagnold Summer gains much from Daniel, Sue, and their realistic relationship — from their arguments to moments of bonding and everything in between — creating an endearing if weightless film.

For all its sugary sweet coating, this movie is nothing more than mindless, mundane distraction.

A ferocious and first-rate drama.

A startling psychological horror story with a breakout performance by Welsh actress Morfydd Clark.

As directed by Kevin Macdonald (The Last King of Scotland), it’s a steady, compelling accounting of events that intends to leave you infuriated and succeeds.

Minari is as American as apple pie and kimchi, which is to say it’s what America is all about.

Rodney Ascher directed Glitch. He’s best known for Room 237 (2012), an inspired look at several bizarre theories about Stanley Kubrick’s The Shining (1980). Glitch ups the ante on that documentary and then some. It looks at a bizarre theory about everything. The result is lively, playful, and busy — in a very good way.

It’s not hard to see the script’s appeal for the actors, John David Washington and Zendaya. Playing the only characters in the movie, they get a very serious workout and give seriously good performances.

McQueen has matters of life and death on his mind, and the final act of “Supernova” puts them on the table with a frankness that’s admirable without wholly succeeding as drama; the script’s schematic nature shows through the cracks even as the actors themselves can’t be faulted.

The movie’s a watchable affair for most of the running time, not so much subverting cliches of the serial-killer genre as keeping the audience in suspense as to how, if, and when those cliches will be observed.

This is still a rich and worthy journey, comfort food that’s also food for thought. It invites us to consider timelines longer than a day, a year, a war, and a life, and to tread carefully on the kings and commoners who might lie beneath our feet.

Animal lovers stand to flinch at the hunting scenes and other moments of violence, all of which appear to have been staged aside from documentary footage of creatures fleeing from gunshots. By contrast, the movie makes a dark but compelling case that the people on the other end of the barrel deserve whatever’s coming to them.

The movie ultimately seems to suggest that the evils unleashed upon Mexico come from a place beyond humankind, which seems an easy way out after all Magdalena and Miguel have been put through. That said, this remains a terrifying cinematic vision that can’t be ignored, from a young filmmaker who won’t be.

Preparations to Be Together for an Unknown Time is a lovely visit to a Budapest that yields its secrets more willingly than the sad, repressed woman at the story’s center.

Some things remain a mystery. If we were a little bit better as people, this decent, clear-eyed movie hints, they might not.

Director Bahrani has always buried his social concerns in story and character; he’s one of the very few American filmmakers to pay attention to this country’s poor, and he applies his creativity to the paradoxes of India without missing a step.

To be successful and Black in America, this movie says, is to tell your own story even as you live it, in the pages of a book or the grooves of a record, in the end zone of a football field or the battleground of a boxing ring. To understand the weight and importance of having to be an example. And to understand when being an example just isn’t enough.

My Little Sister comes from an unusual creative team: Stéphanie Chuat and Véronique Reymond, Swiss friends from childhood who write and direct films together. Their fourth feature, it combines a fluid visual realism — there are some astonishing sequences of Alpine parasailing — with an emotional intimacy that’s its own form of jumping off a cliff. This time, they’re collaborating with an actress willing to take a blind leap and bring us with her. It’s a bracing trip, a work of daredevil nerve that serves as its own reward.

The film is especially clear-eyed about the ways the state bureaucracy designed to help women like Sandra can sometimes stymie their best efforts.

The best moments are cinematic or actorly; the former come early and the latter are concentrated in the poised, agonized figure of the title character.

News of the World is a satisfying movie without ever becoming a great one.

Fennell is a fearsome sensibility and a talent to watch out for, and the arguments you may have after the lights come up will be well worth having. But it’s the sadness behind Cassie’s practiced smile, the wildfire fury behind that sadness, and the reasons for that fury, that may haunt you when the arguments are over.

Soul is messy, maudlin, funny, ridiculous, and poignant. In other words, it has soul.

This is more than retro, it’s a re-imagination of the past, of the stories and role models that could have been available to Black audiences (and white ones) but weren’t. Better late than never.

The sequel isn’t a disaster, but it’s a dud.

Greenland, a solid, stolid disaster film arriving on major streaming platforms this week, posits that the sky is falling, puts manly Gerard Butler in the middle of it, and asks us to be diverted by the spectacle of civic breakdown and mass panic. Are you not entertained? Somewhat surprisingly, yes.

The Midnight Sky is handsome to look at and, in its early scenes, quite engrossing. But it’s an oddly structured affair and, in the end, the director can’t keep it on course.

Hart is interested in scrambling our sympathies yet not deft enough to manage where they land, and the female buddy movie I’m Your Woman wants to be unintentionally ends up feeling like a story about a Black couple as seen by their less interesting white acquaintance.

Wild Mountain Thyme is not a good movie. Rather, it’s one that believes so deeply and joyously in its potted romantic Oirishness that the audience doesn’t have to.

If you haven’t left your house since March, this movie counts as a legitimate vacation.

A stinging, gorgeously filmed tragicomedy about male insecurity and the power of positive drinking.

With Black Bear, Plaza pushes her talent into raw new places.

One hundred and thirty-two minutes of shrill, self-satisfied jazz hands, The Prom may be the biggest disappointment of the season.

The scenes with Keaton and Irons, too, rise above the mediocrity-unto-badness of Love, Weddings & Other Disasters on the strength of the actors’ charisma alone. Irons thaws satisfyingly as a snob finding unexpected love, and Keaton remains adorably, engagingly herself, turning her character’s blindness into a la-di-da form of grace. They are diamonds at a garage sale, and they deserve better.

Zappa also gently touches on Frank’s contempt for the general run of humanity, not just Tipper Gore and other members of the Parents Music Resource Center. He spoke witheringly of his appearance on “Saturday Night Live,” where the cast made fun of his lifelong no-drugs stance.

Watching Happiest Season is like opening the wrong present on Christmas morning: You’re a little bummed out and it’s too late to put it back in the box.

The movie rarely takes the easy way out of a scene, and the observational details can be rich.

Boseman makes the character’s eyes glitter with humor and rage and fear; Levee knows what he deserves and how far it remains out of his reach, and maybe so did the man playing him. It’s a magisterial performance.

Mank is one of the year’s best movies if you’re the kind of person who genuinely loves movies and damn close if you’re not.

The Twentieth Century exists somewhere on the Venn diagram between midnight movie, fever dream, Turner Classics fetish object, and all-Canadian prank. Does that sound interesting? By all means. Does the movie go anywhere? Not really. Will you mind? I didn’t.

The final moments, however, are all Ruben’s, which is to say they’re all Ahmed’s, and the actor makes his character’s ultimate decision feel both hard won and achingly simple. Coming out toward the end of a year of great and terrible cacophony, Sound of Metal understands the gift that is hearing and the blessings of silence alike.

Belushi was at his best when he was allowed to build, moving from soft-spoken sanity to a maelstrom of fury over the course of a two-minute sketch. We get the infamous Joe Cocker impression, flailing away next to the real thing; we’re reminded of his truly remarkable skills as a physical comedian; and we get most of my favorite skit, the “Little Chocolate Donuts” ad. But a full measure of the man’s art (and it was art) is missing.

It’s handsomely filmed, well-acted, and hollower than it wants to be, with a mid-movie revelation that rearranges the moral stakes in ways that dampen the telling.

The sex scenes, when they arrive, are unexpectedly, passionately frank, and the characters and the film alike seem stunned in their aftermath. It’s not a movie that has figured out how to end.

A delicate, observant, and rather too quiescent drama of coming home to a strange land, Monsoon is an interesting change of pace for star Henry Golding (“Crazy Rich Asians”) and another musing on diaspora by the Cambodia-born British filmmaker Hong Khaou.

As The Climb wends its way through the years, and as the friends’ relationships with each other and their girlfriends and families take multiple turns, each “chapter” is presented in smartly thought-out single takes. Except when they’re not; it’s a tough gimmick to sustain and the filmmakers don’t seem too intent on trying.

Worse, by neutering the specifics of where these people live and come from, Howard’s Hillbilly Elegy renders the story meaningless.

Yet The Life Ahead works admirably well — meaning you’re reduced to soggy Kleenex but honestly — in large part because of the grounded, magnetic performances of the two leads.

Both writer and director are men, which perhaps explains why much of the talk in Chick Fight about female empowerment and channeling one’s womanly rage comes off as lip service on the way to the next beat-down or snuggle-up.

Wiseman has made something so mundane as to be absorbingly exotic, a civics-lesson procedural. As with any procedural, the people involved in the process are just as important to the story as the process is.

Mostly Let Him Go is about what would happen if “Death Wish” were cast with the couple from “American Gothic.”

In trying to play up the naughty, witty side of the rom-com equation, the movie settles for snarky. It’s an acrid fairy tale, if not without a few pleasures, and it arrives on Netflix just in time for — wait, Christmas?

The movie itself suffers from hyperbole, hyper-self-consciousness, at times hyperventilation. A magical-realist coming-of-age fairy tale set in Buffalo and environs, it toggles between whimsy and grim realism.

It’s clear that Thunberg knows the science and can talk about the Keeling Curve and the Albedo Effect, even if the journalists and heads of states she meets can’t.

Opens itself up to some splendid drive-in philosophizing.

Yet for all the gags that fall flat and scenes that don’t quite play, there are enough that fuse shock humor and sly moral commentary to combust in your face.

White Noise is an expertly edited, four-year immersion into a phenomenon that has shaped the volatile politics of our time. It’s an auspicious debut for both Lombroso and The Atlantic, and its intimate and empathetic approach might be a more potent way of countering those who promote such toxic ideas than blunting confrontation.

It’s rated PG, but trust me, it’ll give younger kids the screaming meemees.

Ham on Rye will frustrate literal-minded audiences, but it’s a work of gentle, genuine American surrealism — a lo-fi love song to those left behind by character and chance.

Everyone behaves themselves in this Rebecca, whereas the point of the book and the first movie is that our worst behavior is always floating just below the waterline, ready to bob to the surface at the wrong moment.

Schreck matches the wit and fire of her writing with a riveting performance that often does not feel like a performance at all, but rather a cri de coeur wrenched up from a deep place where the personal, the historical, and the universal have met and merged.

It’s perfectly generic on-demand product that will eat up an hour and a half of your life and be immediately forgotten.

The tragedy of this grand and artful movie is that the individuality Martin craves to make him stand out leaves him in the end standing very much alone.

The movie won the grand prize at this year’s Slamdance, an even more indie Sundance-adjacent festival, and it marks the arrival of an earnest talent in writer-director-star Cooper Raiff. It’s also the rare youth movie to dispense with cynicism and wear its heart on its sleeve.

The movie is enraging, necessary, and above all, useful.

Not that terrible, but dispiritingly generic — the kind of off-brand, cable-ready product that functions as advertised but could have been cast with anybody other than some of the most unique and celebrated performers of their generations.

Time is not a cut-and-dried chronology. Rather it’s a poetic rumination on atonement and endurance, one that chops up and reorders time itself to give us a powerful portrait of a woman who refuses to take no for an answer.

All in all, quite impressive for a debut. Let’s hope we don’t have to wait another 40 years for the next one.

It’s an agreeable diversion.

If you’ve ever helped shepherd a parent or a grandparent in their final years, you may be better equipped to handle this movie’s gallows humor and to appreciate the care with which it separates the contradictory emotions felt by Kirsten and all grown children.

The first two-thirds is lively in pace, all of it is amiable in tone and sun-splashed in appearance. The final half hour gets a bit gushy. It’s mostly devoted to Alpert’s blissful second marriage, to singer Lani Hall — they’ve been married nearly 50 years — and his philanthropic largess. But since there’s a lot to gush about, that’s okay.

All the cinematic huffing and puffing only calls attention to the paradox on which this movie is built: It’s a portrait of a woman who’s not particularly interested in being seen other than to prod the world to value other women as much as they value men — culturally, politically, and financially.

"Trial” is so inherently compelling — and so directly germane to an America where the government labels cities “anarchist jurisdictions” and states are drawing up laws against free assembly — that it doesn’t need the frills. Let the kids know what happened the way it happened. They can handle the truth.

Misbehaviour is intersectional to a fault, and keeping all those balls in the air is almost more than the movie can handle.

July may have lost all faith in the strategies of the parents' generation but holds out hope for the future. I think this may be her idea of a family film.

A tart, eager-to-please screenplay by first-time director Natalie Krinsky and a cast skilled at verbal badminton hook a viewer from the start, and “Gallery” especially stands as a welcome showcase for Geraldine Viswanathan.

Aided by Simon Beaufils’s luxuriant wide-screen photography and Laurent Sénéchal’s alternately swooning and plinking suspense music, “Sibyl” is a vacation for the senses and a gathering headache for the brain. The screenplay, by Triet and Arthur Harari (David H. Pickering supplied the English-language dialogue spoken on the island’s film set), piles a lot on the unstable heroine’s plate and then adds even more.

Jimmy Carter Rock & Roll President isn’t a political documentary, but it is a civics lesson.

The forced hijinks, sub-John Hughes emotional tropes, and Screenwriting 101 conventions — which include what can only be called Chekhov’s Taser — cut crassly against the grain of a subject that is fundamentally personal and inherently political.

It’s refreshing to see Monáe show what she can do as a lead, and her performance as Veronica possesses a wit and savvy that complement the performer’s natural poise.

Durkin has a filmmaking style of indirect direction, one that leans on certain ’70s suspense-movie tricks: slow zooms into figures standing at windows, eerie soundtrack drones. But the performances are bold: Law making the grand, obvious gestures of a poor kid pretending to be rich and Coon turning Allison’s unhappiness into open rebellion in a restaurant scene that leads to a delirious solo night on the town.

What’s best about the documentary is all that Obama sun. It’s hard to come by these days, even in retrospect. The shade, however, and what occasions it, is all too available.

The documentary’s chief virtue, after the very considerable pleasure of getting to spend time in Sacks’s company, is learning how much his personal life rivaled his career in remarkableness.

In the end, Mulan 2020 stands as an inspired oddity: A reenvisioned remake that improves on the original even as it owes everything to movies that have come before.

Moviemaking doesn’t come any tauter or with more velocity. But that confusion is a warning. It’s going to apply to the entire movie; and the longer “Tenet” lasts, the more of an issue confusion becomes.

Ghost Tropic is a slender 85 minutes, but it expands in your minds even as you watch it.

[A] sweet, dumb, unnecessary, and absurdly charming movie.

A subplot involving Sarah Bernhardt (Rebecca Dayan) seems to have wandered in from another, less watchable movie. It might have been for the best if Eve Hewson, as J.P. Morgan’s daughter and Tesla’s sort-of love interest, had wandered out.

All the animals are computer-generated, not that you’d know it by looking at them. Their interactions with the human characters are seamless — and, it must be said, at times the animal characters come across as less cartoony than the human ones.

His Unhinged character is a pill-popping mouth breather with a sweaty beard and big, big gut. He combines the cruelty of a bear-baiter with the appearance of an actual bear. It’s kind of a neat trick, actually: the unbearable bearishness of Russell Crowe. If Disney goes the “Jungle Book” route again, consider him a lock for Baloo.

Project Power is the kind of action/sci-fi bone-cruncher where the cast is better than the material, the characters are more interesting than the premise, and the dialogue chugs along in the middle. It’s on Netflix and is worth a few hours if you’re in a B-movie state of mind.

I don’t know that I’ve seen a movie this year that simultaneously depressed the hell out of me and filled me with hope like Boys State.

As the sensation of imminent doom spreads from character to character to character, She Dies Tomorrow takes shape as an allegory with just enough genre trimmings to keep us off balance.