Travels around the world via the oceans' floors to show us symbiosis at work in a variety of ecosystems.

A broad, very funny, unexpectedly graceful comedy of character and community.

It’s silly of mind and open of heart, full of visual and sonic eye candy while telling a predictable story with pleasurable generosity. The laughs are pitched right over the plate with the skill and enjoyment of a team of vaudeville pros. As reunions go, it’s a success.

Like a good supermarket tabloid, Time Code grabs - and keeps - our attention.

Like last year's Inuit sensation ''The Fast Runner,'' the Maori drama Whale Rider is based on a folk myth, and it's told with an elemental timelessness that feels like a swan dive into prehistory.

DaCosta, who helmed the much-maligned 2021 reboot of “Candyman,” keeps the plot moving so quickly that I had little time to question much of it.

Miss Juneteenth is a simple story but a resonant one: modest but impactful, focused on one woman’s pride and her daughter’s future while unfolding in the bedrock of a known and loved environment. You can feel the history coming up through its pores.

An absorbing piece of investigative journalism.

The film will resonate with today's alienated workers, whose every brain cell and nerve ending hates the soul-crushing jobs they're told they should be grateful to have.

Museo is slightly frustrating on first watch, as its themes lie partly hidden behind Bernal’s intentionally abrasive performance and the mix-and-match filmmaking of Ruizpalacios: Bursts of faux-epic movie music in Tomas Barreiro’s score, camerawork that can be ironically portentous, scenes that flit along the edge of the surreal. The connective tissue is sometimes hard to discern.

Duplicity so thoroughly equates sex and money that, in a manner apt for a recession, the audience is rewired when it's over. You don't care whether they love each other. You just want to see them paid.

Peculiarly entertaining exercise in bare-bones, Hollywood-style action heroism.

Extraordinary.

Though at times it threatens to become too generic to be original, or too original to be generic, it retains enough indirection to frustrate those looking for thrills and to engage those willing to be challenged. And by the time the bottom drops out in a characteristically enigmatic ending, Night Moves distinguishes itself as a genuine Reichardt movie.

The final scenes deliver a payoff worthy of the film's scrappy optimism, but that may not be the reason you walk out of the theater on a cloud. It's the sight of a character coming rapturously into her own at the same time as the actress playing her.

Engrossing and eye-opening in several respects and even, when you least expect it, humorous.

Goes soft in the end, but not ruinously so. Meanwhile, its loose cannons bounce off one another deliciously.

Nouvelle Vague succeeds in giving you a feel for the films it’s documenting and paying homage to, without the pretentiousness and snobbery those films are accused of conveying. It’s a welcoming gateway drug for newcomers curious about its subject.

Cleverly mixing shamelessness and panache, Wes Craven's New Nightmare is easily the most dazzlingly self-referential seventh installment in a horror series ever. [14 Oct 1994, p.60]

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.

Should be seen: It's a worthy ordeal, with flaws that, ironically, make grist for later arguments.

''The Silence of the Lambs'' was a classic; Hannibal is only a good movie of its type.

Engrossing, smartly made documentary.

This present-day Paris of Le Divorce is smartly shot and costumed, and the whole affair is breezy and uncharacteristically insouciant, given the reserved nature of the folks responsible for it.

The best thing about Together, apart from the way some of its characters grow on you even as others put you off, is the way it snatches idealism back from the brink of life-smothering orthodoxy.

The film means to provoke a closer look at the faces of good and evil. It questions whether we really live in a world that can be divided neatly into black hats and white hats.

They even make the requisite cameo by Marvel founding father Stan Lee feel profanely inspired. Not your usual Marvel superhero scene? In this case, that’s a good thing.

If anything, Chernick’s film shows a life that may be too perfect. In addition to his triumphant career, Perlman has a seemingly ideal marriage — to Toby, a woman who is his match in ebullience, wit, and passion for art and music. It has lasted for more than 50 years.