Watching Ottolenghi’s achievement from the other side of a screen only serves to reaffirm his point that looking at the world isn’t the same as feeling it on your tastebuds. A more nuanced documentary — one that didn’t just feel like evidence of an event that happened at a museum, but a work of art unto itself — might have made a meal out of such ideas, rather than just offering them for dessert.

Doctor Sleep shows considerable effort to ingratiate itself to discerning cinephiles, from the moody Newton Brothers score to cinematographer Michael Fimognari’s dark blue nighttime palette; as a whole, the movie conjures an eerie and wondrous atmosphere that blends abject terror with a somber, mournful quality unique to Flanagan’s oeuvre. But his pandering to dueling source material results in a jagged puzzle beneath both of their standards.

How you view her and her lies is meant to say something about you. What it says about Dolezal is left more open to interpretation, as Brownson spends so much time close to her subject that it’s nearly impossible for the filmmaker and her work to not humanize her.

It pitches a tone between comedy and tragedy that holds unique appeal.

“Mektoub, My Love” is never about anything more than its own style.

A tight script, stellar ensemble cast, and plenty of easy-on-the-eyes shots of California wine country make for a delightful time at the movies. Rich people might live in a world without consequences, but Pretty Problems reminds us that it can be pretty damn fun to join them for a couple hours.

Sing is the Platonic ideal of an Illumination movie. It’s a profoundly soulless piece of work that shines a light on the mediocrity they foist upon the children of the world.

Repetition grinds Lizzie to a halt, and the film lacks anything resembling energy, cycling through the same beats until something happens only because it has to.

Cooper’s film wants to be the “Nebraska” of rock biopics, but it lacks the finesse to retain the essence of that sound when transferring it into the body of a commercial biopic. In that sense at least, it all too perfectly articulates how difficult it can be too move forward when something is holding you back.

If nothing else, it joins “Trap” in an expanding canon of mid-career Josh Hartnett movies that are memorable for their utter ridiculousness. And perhaps we all ought to be grateful that a film that promised us fighting or flight had the generosity to deliver on both.

Michael Showalter’s follow-up to “The Big Sick” is as flat and algorithmic as his last rom-com was poignant and alive. The only thing the two films really have in common is a winning performance from Kumail Nanjiani.

On the Basis of Sex plays like a sunny fantasy from a more optimistic age.

Once again excelling, Zellweger has much to do with the safe transition of this new Bridget, maintaining all the old quirks and sweetness, but in a believably more mature shell.

Told with the gravitas of a comedy sketch and the edginess of the funny pages, Elvis & Nixon at least has the good sense to appreciate that its namesakes were larger than life, each walled off from the world in their own way.

They mix like Fireball and water, but the odd couple nonetheless shares a sensational chemistry, building on the base amusement of seeing Oh let her extension-laden hair down and Awkwafina crimp the straight-man character into weird new shapes.

A straightforward tale of overcoming personal and professional challenges with no fancy dressing, Grigris goes down easy but offers nothing remotely fresh.

Considering that it’s a second sequel in a less-than-revered franchise, it’s a minor miracle that Cars 3 hits the finish line with a fresh sense of purpose.

A sensitive but almost fatally self-absorbed death drama that has much to say and little to feel.

"Absolutely Fabulous” captures the irreverent fun of the series using an appropriately absurd plot device and does not read like a tired excuse to put the characters back in a room together.

Stone's uneven direction veers from near-amateurish genre antics to an enjoyable awareness of those same standards.

Shlesinger’s leading performance has the stuff of a star-making turn, though the film isn’t distinctive enough from its peers and predecessors to match the actor’s obvious onscreen charisma.

Together may not be the best pandemic movie about a poison-tongued couple stuck in lockdown together, but it’s the first to recognize that rage is a necessary part of grieving what the pandemic has taken from us.

As a minor work, it provides an enjoyable snippet of rambunctious formalism that puts Noé in a category of his own.

If The Drama is effectively a one-gag movie, there’s no denying that its gag is a good one, or that Borgli — a hyper-online shit-stirrer whose salable provocations, combined with his sometimes not so salable ones, continue to position him as an A24-friendly Lars von Trier — milks it for all that it’s worth. Possibly more.

Fascinating ... Delpy’s ability to believe in both her audience and her wild story remains compelling throughout the film, even as it careens through tropes and tricks and genres with increasingly off-kilter speed.

Women Is Losers is an infectious and auspicious debut.

While this nasty film seems headed toward a conclusion where the rich win and the status quo is maintained, that’s abruptly shattered by a violent climax that assures that no one on either side of the divide is left without a bloodstain.

Odenkirk seems decidedly checked out: he, along with almost every other actor in the cast, approaches the material with a complete lack of energy, which can pass for an acting choice to represent Hutch’s exhaustion but slowly begins to resemble a boredom with this character.