Pryor’s best film and his best performance and that’s not taking anything anyway from his co-stars Harvey Keitel and Yaphet Kotto.

Changing the Game goes beyond those dehumanizing headlines to show the real people affected by harmful anti-trans policies or lack of any meaningful legal protection.

Gray's fifth directorial effort is a conflicting experience admirable and powerfully executed in parts, cold and meandering in others.

Detroit is extremely powerful when its wandering eye is trained on the moment at hand, when it’s performing a bracingly direct meditation on white violence and black fear. The film only runs into trouble when it clumsily attempts to contextualize the events of its horrific second act.

Unfolding like a symphony of small humiliations, there isn’t a moment in this movie that doesn’t feel at least vaguely familiar, and there isn’t a moment in this movie that doesn’t feel completely true.

Logan isn’t always a satisfying movie, but there’s a very satisfying answer to those questions waiting for viewers at the end of it. Satisfying not only because Mangold resolves things with some brilliantly expressive imagery, or because he endows this story with a no-shits-left-to-give honesty that defies its origins and justifies its spectacular violence and salty vocabulary, but because it proves how iconic Jackman has made this character over the last 17 years.

28 Years Later effectively uses the tropes of its genre to insist that the line between a tragedy and a statistic is thinner than we think, and more permeable than we realize.

Gugino and Greenwood deliver first-rate performances enriched by their characters’ ambiguous qualities.

It’s more of the same, but more of the same has always been what “Phineas and Ferb” does best.

Searching for Mr. Rugoff often feels like inside baseball for film buffs, but if you’re of that group you’ll be charmed by it. The loss of theaters feels particularly acute at the moment and that too should also make this loving documentary feel even more poignant.

The film feels like a tribute, and an eventual goodbye — to two extraordinarily unique people, their unconventional home, and their truly remarkable way of life.

Gallner and Weaving’s erotic chemistry, which begins at a simmer but quickly reaches a boil, helps smooth out the lumpier patches in Carolina Caroline that comprise the film’s middle section.

It has a couple of nice reversals, two or three good laugh lines, and a caustic but not too acid skewering of cultural institutions. It goes down easy, it’s relatively unmemorable and it’s fine. Close, on the other hand, is exquisite.

This is a strong movie about a man in need of a new start, made by someone who could benefit from one of his own.

From laugh to laugh — and there are many — you might question the target of the jokes, but that’s often because The Disaster Artist rarely works on one level: There’s meta humor, self-referential gags, and human reverence paid to the earnest pursuit of a Hollywood dream. Such are the layered joys of this exuberant — if surprisingly conventional — buddy comedy about the making of the worst movie of all time.

Herzog acolytes will find the usual dose of eccentric musings; others may find it alternately perplexing and thoughtful when not hijacked by Herzog's intrusive remarks. But one thing is certain: You've never seen the internet discussed like this.

Keep Quiet is far more compelling as a portrait of a man in transition than it is as a man reborn, but Blair and Martin never solve the problem that they only have access to the latter.

A sharp and well-made comedy with a better drama glued on the side.

Leaning Into the Wind will inspire anyone who sees it to look for the beauty in every gust, to admire how nature constantly rearranges itself, and us along with it. Even at its most self-conflicted, this is a fascinating reminder that some art wasn’t made to be owned.

Writer/director Jarmusch has called “Father Mother Sister Brother,” which he wrote in three weeks, an “anti-action film,” but if you’re looking closely enough or tuned in to its hangout-movie sensibility, it has more action than most bona fide action movies, even when much of the action here is offscreen, under-the-surface, unsaid.

Moors isolates a well-known drama with the fleeting nonfiction prologue and explores it from the inside out: It's not an attempted reenactment, but it does aim to get at certain truths.

Making her feature debut, writer-director Chandler Levack has pulled off a rare trick here by making a movie that feels warm and safe without coddling its protagonist.

Having established such an electric pair, Tramps doesn’t quite know what to do with them beyond the initial setup.

Miller applies Gerwig to the center of a busy story with simple themes, but it glides along so effortlessly that its reductive qualities barely register. The filmmaker's exceedingly smart screenplay is the real plan, and Gerwig's performance puts it into action.

The director shoots the place with a Haneke-like remove that makes every member, caddie, and Chinese tourist feel like they’re conspiring to bury an awful secret of some kind.

While not his best work, Like Someone in Love is a nimble expression of Kiarostami's appeal: He remains one of the few directors capable of pulling you into a narrative and making you question its motives at every turn.

Showing the uneasiness of a first-time documentarian, Rapaport has a difficult time exploring the drama. That has extended beyond the movie itself and into a long-running media dispute with Q-Tip, who has refused to plug the movie.

Sweet’s work is a time capsule of a bygone era, preserved in glorious, saturated technicolor. He was the master of the unexpected composition, and in that sense, The Last Resort is a fitting tribute.