This bitter and beautiful Sundance-winning doc focuses on a single beekeeper as though our collective future hinges on her hives.

There's no doubting that Holy Motors is an ungodly mess of images and moments, some more alluring than others, but it sure leaves a mark.

There will be many people who see themselves in the furtive glances and mud-covered kisses from which God’s Own Country weaves its harsh but hopeful narrative, and they will do so while witnessing a finely crafted piece of cinema.

Endlessly charming and sneakily wise, Everybody Wants Some!! epitomizes Linklater's unique ability to magnify human behavior with levity.

Ultimately, Two Prosecutors is like a perfect 50-50 cocktail of dread and dialogue, the vodka being whichever you’d choose, making the inevitable feel capable of deferment, before it strikes more devastatingly than you’d even think.

Farhadi's new movie confirms his unique ability to explore how constant chatter and anguished outbursts obscure the capacity for honest communication.

It also never hurts to be anchored by two actors who are totally game and committed to that vision, and willing to go there, chains, gags, assless chaps and all.

If Black Bag denies us the kind of duplicitous confrontations that other versions of this story might take pains to savor, Soderbergh’s aversion to giving audiences what they want — and the severe angularity that he tends to offer us now instead — is almost as rewarding here as it was utterly indefensible in “Magic Mike’s Last Dance.”

Using a remarkable personal lens, the film examines the reverberations of propaganda on broken families across multiple generations. The cumulative effect creates the sense that its destructive effects continue to be felt well beyond China’s borders.

Menuez and Rendón share a terrific chemistry as long-holding-on friends questioning whether they should stay friends at all, and if they should, then why? Comedies like Summer Solstice rarely ask that question with such candor and insight, and with a trans lead actor and character the movie lets simply be themselves despite living in a world rigged against them.

While the trauma of a missing child makes for the film’s heart, its spine is something much more difficult to effectively put on film: the horrible waiting, the in-between times, the stretched moments when no news — good or bad — is available.

While The Wonderful Story of Henry Sugar may be, in some respects, the most literal Dahl adaptation you could possibly imagine, the true author of this project is never in doubt.

More meditation than movie, Terrence Malick's The Tree of Life is bound to mystify, awe and exasperate in equal measures.

Park’s funny, playful, and increasingly poignant crime thriller is less interested in what Hae-joon (Park Hae-il) knows about his suspect than in how he feels about her

An enormously moving documentary made all the more effective by co-directors Angela Patton and Natalie Rae’s steadfast refusal to settle for easy sentiment in the face of difficult outcomes, Daughters has as much ugly-cry potential as any film in recent memory.

I’d say this playful yet nakedly personal coming-of-auteur epic was trying to split the difference between memoir and crowdpleaser, but it seems even more determined to reconcile the two: What else would Steven Spielberg’s ultimate divorce movie be about if not the hope for some kind of reconciliation?

Despite an occasional tendency to speed through its most compelling passages and flatten their mottled texture under the weight of Simon Russell’s emotionally instructive score, “One in a Million” is still a raw and absorbing epic about “what comes after” — one that naturally unfolds with all the joy, anguish, and unresolvable inner conflict of life itself.

A rich, rewarding documentary that digs deep into major questions without being afraid of the answers.

The film never fully commits to being a pure North Korean escape documentary, and its weakest moments come when it tries to be a general interest film about North Korea that happens to feature escape footage.

Life may have been very beautiful in this mountain town but even during its most tumultuous years, spending time within it isn’t exactly fascinating.

Beanpole is slow to thaw, and its emotional impact is dulled by a structure that delays the story’s full power until the final moments, but there’s a resonant beauty to how these women seize control over their themselves.

In Won’t You Be My Neighbor, the touching and insightful survey of Rogers’ decades-spanning career from Oscar-winning director Morgan Neville (“Twenty Feet From Stardom”), the filmmaker highlights Rogers’ capacity to explore complex themes through the lens of a kid’s program that took a dead-serious approach to his young viewers’ needs.

Reichardt crafts a highly textured narrative that both invokes the mythology of the American frontier and cleverly transcends it.

Fruitvale is largely sustained by Jordan's career-making performance and the way Coogler uses it to analyze his subject...It's a fascinating investigation into the contrast between media perception and intimate truths.

The idea of them getting justice never feels on the table, but the film instead is a path out of the madness of a system where to simply have what happened to their father admitted would fill some of the void he has left behind.

Boonbunchachoke has made a darkly hilarious film that deserves to be remembered for much more than its shock value.

No matter its overarching ridiculousness, The Handmaiden remains a hugely enjoyable dose of grotesque escapism from a master of the form.

Evangelion: 3.0+1.0 Thrice Upon a Time brings the long-delayed, highly anticipated tetralogy to a close with a bold, messy, uplifting, audacious, and emotional film that expands, complements, and comments upon what came before, while giving fans a fitting close not only to the movie series, but the entirety of “Evangelion.”