Mr. Roosevelt is a sweet and shaggy comedy about someone who needs to renovate their idea of home. It’s a reminder that the 21st century is going to be full of coming-of-age films about 30-year-olds, and it’s compelling evidence that that might be alright.

There and gone with the fleeting nature of its youngest character's attention span, Little Feet ultimately feels more like an insightful sketch than a full-fledged movie, but it nonetheless leaves a major impression.

It’s shaggy in places and favors one side of its story above the other, but ultimately makes for a delightful time.

We are treated to all the joys and pains of 10 transformative months, with Ewing and Grady taking us inside an experience that’s both specific and oddly universal.

Intimately tender and boisterously fun, Something You Said Last Night announces the arrival of a vital new voice in trans cinema.

Though hardly a singular achievement on par with its precedents in the filmmaker's career, Results shows the first indication of Bujalski's ability to tell stories on a larger scale.

Appropriate Behavior isn’t a narrative about ethnicity or even LGBT struggles in the traditional sense, but rather a means of exploring the problems that result from reinforcing those very barriers. In the process, it introduces a thoroughly modern voice.

It's one thing to make a minor, accomplished work after focusing on grander statements, but Julieta mainly disappoints because it feels like the kind of straightforward, unadventurous drama that the filmmaker generally excels at reinventing through his own peculiar vision. This time, he plays it too safe.

Ferrari is more gritty than glossy even at its most tightly coiled, with Mann’s searching camera never quite fixed in one place.

If Greengrass’ broadly entertaining (if gallingly relevant) film is a bit too soft and spread thin to hit with the emotional force that it could, so much of its simple power is owed to the grounded nature of the director’s approach, which allows these desperate characters to feel as if they’re trying to escape the very genre that threatens to define them forever.

It’s easy to ascribe the success of Good Boy to the power of its canine star, but the film refuses to let Indy feel like a cheap gimmick.

Few narrative dramas (if any) have more sensitively explored the nuances of growing up transgender, the bravery required to transition, and the struggle for self-acceptance that can motivate or define that process. Likewise, few narrative dramas (if any) have more palpably distilled the pain of being deadnamed, the humiliation of being reduced to your body, and the cruelty of being misrepresented as something that you’re not.

The director excels at generating a nervous energy around his character’s mounting desperation, and the movie’s intermittently engaging for that reason alone.

The Club is a bold and bracing allegory of a church tainted by scandals.

As is often the case with Denis’ films, Fire grows more illuminating as it gets hotter; what starts like a constrained and unusually jagged French drama is eventually forged into an incendiary portrait of three people who — to varying degrees — all delude themselves into thinking that the past is possible to quarantine away from the present.

Share can be so traumatized and detached that it risks losing its grasp on reality, but few movies have so boldly confronted the complexities of sexual assault, and even fewer have had the courage to privilege a victim’s truth above the judgements she inspires.

Gibney's narrative drags to some extent when the focus widens to explore the Vatican's overall policy for covering up sex scandals, but he successfully demonstrates the systematic failure of a system designed work flawlessly on the basis of spirituality that never existed in the first place.

Megalopolis is one of those movies that feels like it offers an accurate window behind the scenes of its own creation process, and Megadoc confirms as much without ever becoming redundant.

This is a film that admires — even awes at — Billie Jean King, but it doesn’t share her commitment to the game. If anything, it has more in common with Riggs than it should, moving with the sluggishness of a player who underestimates their opponent.

While it certainly offers up a necessary-if-dour vision of patriarchy-dominated life in this particular corner of Europe, by-the-numbers storytelling and a flat, visual style occasionally lead to dramatic intertia. Still, Gashi is powerfully, effectively steely as a woman who must take matters into her own hands, even when they are tied by society.

Curtiz was a master of all genres but The Sea Wolf is his best. Darkly flirting with the noir genre that would capture the decade, there's so much tension and hostility, secrets and lies that permeate the ship. Ida Lupino has never been more beautiful as the criminal attempting to rewrite her past.

What I wish for this film is that it had trusted the lilting rhythms of its own initial story more confidently rather than a crash into various melodramatic episodes in the finale that only serve to get us to a hurtled-toward cathartic ending.

Renoir — with its faint traces of sentiment, and complete absence of sentimentality — delicately articulates the girl’s inner child in a way that allows us to feel it expand across the season.

This is a human story, as messy and complex and maddening as any ever told, and while Bratton makes it his own (how could he not?), the generosity with which he shares it with us make it special indeed.

This haunted and harrowing psychodrama — based on surviving records from the 18th century, and rooted in the day-to-day tedium of Styrian farm life — has too much respect for its emotionally isolated heroine to frame her unraveling as part of a broader phenomenon.

It’s a pretty intense film at times, and it may be too earnest for its own good; but it’s a finely acted film and one that also firmly makes a connection between the Civil Rights movement and the beginning of the women’s movement, as Spacek begins to find her spine and come out of her protective “good wife” shell.

Worth the wait? Yes, and we can’t wait for the next one to take wing (wink).

Throughout the very funny film directed by Lawrence Lamont and written by Syreeta Singleton, you are treated time and time again to the brilliance of Palmer — how she can transform any bit of dialogue into a laugh line, or make her eyes glimmer with gags.