While both pieces of the entire package generally work independently of each other, they have just enough ingredients to necessitate a viewing of the whole thing.

The 40-Year-Old Version doesn’t overcome all of its rough edges, but they’re so closely tied to the personality of the creator that it’s hard to shake the underlying appeal.

No one’s proposing the story should be as radical as “8 Women” or as dark as “Swimming Pool”, but it’s almost too restrained at times, to the point where you end up wishing Ozon would push just that little bit more. Still, it’s hard to complain when the end result is this accomplished.

Sorry to Miss You doesn’t break new ground for the filmmaker, but it radiates a timeliness that suggests an old-fashioned Ken Loach lament matters more than ever.

Cafe Society works about as a well as a decent-but-not-great Allen movie can.

Those who adore the original, however, will feel like they’ve been revisited by an old friend, or perhaps the dirty uncle, whose jokes are a bit frayed but still pointed enough. Produced at a time when big, brash studio comedies rarely crack the zeitgeist, Coming 2 America works far better than the market standard, in part because it does right by its roots.

While Magaro’s performance anchors the film, strong turns from both Wright and Solis give added depth. So too does Webley and Machoian’s obvious interest in their young characters’ perspectives and experience; “Omaha” is often not just seen, but felt through their eyes.

While Chasing Ghosts is hardly as bold in its stylistic approach as Traylor, that’s by design, as the documentary is keen to get out of the way and let the work speak for itself. This movie should introduce one of the greatest artists you’ve probably never heard of to a bigger audience.

Humanist Vampire Seeking Consenting Suicidal Person isn’t a wholly new take on the subgenre. But it is a charming one — a rom-com for teenagers (and teenagers at heart) who swoon when cute boys talk about death.

Directors Daniel Junge and Kief Davidson at least manage to cast a broad enough net to put the great big celebration in context: Legos are hotter than ever, and this new documentary effectively tells you why.

Secure in his standing as a marquis comedian, Maniscalco makes movies like a guy with nothing to prove, and his confidence buoys and brightens About My Father.

Each time the film shows the urgent revival of someone experiencing an overdose, we are reminded this is an everyday occurrence for these unsung heroes of the street. Pulsing with candid immediacy, Love in the Time of Fentanyl implores the viewer to bear witness to the humanity behind the term “opioid crisis.”

Killing Season is like the Saturday morning cartoon version of a terrible movie: still bad, but at least colorful enough to go down easy.

Director Sarah Gavron's celebratory chronicle would inspire strong reactions even if it wasn't much of a movie, but the filmmaker compliments her powerful tale with the immediacy of her filmmaking and performances on the same level. It's an unabashed message-driven story that imbues the past with modern power.

Though it lacks a cohesive means of fusing together its interlocking vignettes, Palo Alto effectively showcases the despair and sophomoric rebellion of teen life with a mature eye that clearly establishes a new filmmaker to watch.

7 Days is a film about a lot of things — matchmaking, familial expectations, being your best self, opening your heart — but it’s also about a strange, horrible time in all of our lives and how it changed us. In the minimum of time, Sethi and his cast give that a truly honest go.

Imagine if Michael Haneke’s Funny Games were instead about a pair of lone-wolf, conservationist vigilantes trying to save the world instead of two sociopathic twinks wanting to tear it down, and you’ll have some idea of the hyper-contained, rigorously controlled torture chamber that is Yorgos Lanthimos’ Bugonia.

A distinctly uneven but imminently watchable theatrical showcase in which cinematic and stagy devices go head to head with no clear winner.

The Willoughbys is different — or, perhaps, just different enough to stand out, as it sends up the vast assortment of kiddie stories about missing, dead, or just plain bad parents, and finds something fresh and funny in the process.

Whatever compromises were required of Smith, she holds fast to the soul of a movie that ultimately cares less about how high Kate and Marine can fly than it does the exotic truths they might only be able to learn as they fall.

No matter how much Mascaro reaches into the future, Divine Love retains an immediacy steeped in questions about the nature of faith, physical attraction, and the factors that can transform the personal into the political.

The director has a novelist’s attention to nuance, and Barrage is at its best during the scenes in which Catherine and Alba are casually trying to redraw their boundaries.

For all its filmic flourishes, this a sweet film at its heart, one interested in the darker side of childhood, not just the fears we have as children, but the anger as well.

Things grow a bit squidgy whenever Waugh goes in for the money shots, but his eyes are seldom bigger than his wallet in a film that mines little suspense from the Garritys’ far-fetched race to safety, and a lot from their scramble to reunite whenever they get separated.

Come for the espionage thrills, stay for the wrenching dissection of what it means to really love someone. That’s what really cuts deep.

By its closing credits, Dìdi resembles the often-exasperating boy it has been following for 90-some minutes: charming, rough around the edges, and brimming with potential.

With its lethargic pace, Hara Kiri may disappoint more often than it delights, but the payoff is extreme in more ways than one.

Wang’s absorbing first-person account of the coronavirus outbreak initially seems like it’s treading familiar ground, tracking the outbreak of the virus in Wuhan and government propaganda efforts to pretend it’s under control. With time, however, Wang turns the tables on her Western audience, illustrating how those same lies emanated from American airwaves months later.