One of “Trouble’s” nicest gifts is a pair of lovers to sigh over, whose future you agonize about, lovers who can make each other roar with laughter while lovingly intertwined. How long since we cared anything about a couple on the screen?

In what’s been a banner year for archival docs that repurpose footage into absorbing, contemplative cinematic experiences (“Amazing Grace,” “Apollo 11,” “They Shall Not Grow Old”), Kapadia reasserts his mastery of the format, especially as a force of perspective from inside and outside a superstar’s orbit.

“Onoda” is an insightful portrait of fanaticism, illustrating how bad ideas can take root simply because people are naturally resistant to change.

Director James Foley and his co-screenwriter Robert Redlin have pulled Thompson's story out of film noir shadows and set it unflinchingly in the desert's orange-red glare.

Its wrenching honesty provides a potent counter to the simple-minded let’s-all-be-friends-and-sing-a-song inanities of “My Little Pony,” “The Emoji Movie” and other recent American animated features.

When I, Daniel Blake regrettably piles it on at the end, it’s Loach growing weary of humanizing details and desperate to shake you up with consequences, didacticism and speechifying. It’s the finger-pointer in him, but as this movie frequently shows in its best moments, he’s still a practiced veteran at open-arms affection for the dignity of the downtrodden.

The Counterfeiters demonstrates that no matter how many Holocaust stories the movies tell, there are always new and unexpected ones waiting to be revealed.

After the Wedding would never pretend to have any answers, but in hands this skilled the act of exploration itself couldn't be more illuminating, or more dramatic.

Potent, persuasive and hypnotic, The Dark Knight Rises has us at its mercy. A disturbing experience we live through as much as a film we watch, this dazzling conclusion to director Christopher Nolan's Batman trilogy is more than an exceptional superhero movie, it is masterful filmmaking by any standard.

The movie may, in the end, frustrate your desire for straight-up thrills and clear answers, but its irresolution is masterful — sincere, generous and entirely appropriate to the deeply searching story it has to tell.

It's the film's glowing visual qualities, a striking performance by Denzel Washington and the elegant control Carl Franklin has over it all that create the most exotic crime entertainment of the season.

Girl Picture is designed to feel as closely observed as a diary, but it’s also like being pulled along by a friend eager for you to experience what they go through, see things the way they do, to just get it and have a great time too. That’s a special kind of invitation, and Girl Picture is more than enough movie to make its compassion for the lives of teenage girls a swirling, swooning high.

Somewhat miraculously, we’re carried out of this consequential collision of hearts and minds on the lightest of notes, with the sense that our capacity to rediscover harmony will always be beautifully mysterious.

The inside jokes and fan-service digressions are blatant and relentless, but also pretty effective. The conflicting narrative priorities that often bedevil an epic series finale — how to tell a story that builds with inexorable momentum while also staging the mother of all cast reunions? — are cleverly and resourcefully reconciled.

A film of simplicity and power, beautifully shot and effortlessly acted by nonprofessionals.

Makes for gripping, merciless drama.

Filmed by the great Romanian cinematographer and frequent Loznitsa collaborator Oleg Mutu in long, patient takes that intensify each sequence’s brittle contrasts, Donbass coalesces into an unflinching dispatch from a state of embattlement both region-specific and 21st century-pervasive.

I’d call “Wallis Island” a contender for the most quotable film of the year but there are so many good lines stacked on top of each other, and so much giggling on top of that, it’s impossible to keep up with Key’s wordplay.

There is a guileless quality to the enterprise as Young interviews stars such as Chita Rivera, Florence Henderson and Martin Short who worked in industrials, as well as the lesser known performers and songwriters who became his heroes.

Blue Ruin is an uneven film, and there are slip-ups along the way, but the tension that settles in slowly like a low-grade fever keeps you with it.

In interposing haunting footage of the destructive wake of the Fukushima tragedy with Sakamoto’s evident, childlike delight in coming up with the perfect tonal combinations, the film serves as a stirringly poetic meditation on the pursuit of creation in the face of mortality.

The War of the Worlds is one of those movies that many who grew up in the '50s remember fondly as a mix of science-fiction melodrama and crashingly good mayhem. Nostalgia goes a long way toward appreciating it today. [13 Aug 1992, p.15]

Equally brazen and ambitious, Drew’s film is committed to embracing the zany undertones that have always bubbled under the surface of a comic book tale in which secret identities, arch performances and fabulous outfits (all worn in the dead of night, no less) have always felt like lifelines for queer and trans kids worldwide.

What you see is pretty much what you get. Fortunately, what we see is often vivid and lovely.

Johnson is nothing if not a punchy ringmaster of deadpan humor and his grab-bag mindset generates enough goodwill to appreciate the DIY brashness of it all. I’m one of those who had no clue of this act’s history and I’m fairly certain I’d look forward to Nirvanna the Band the Show the Movie the Sequel.

Against considerable odds, Wang managed to smuggle the various media out of China and back to her New York base where she adroitly edited it into a quietly powerful first feature about the untapped potential for bearing witness in our social media-driven society.

Shrewdly imagined and persuasively made, Ex Machina is a spooky piece of speculative fiction that's completely plausible, capable of both thinking big thoughts and providing pulp thrills. But even saying that doesn't do this quietly unnerving film full justice.

It says something when you come out of a film as weird and fantastical as Oldboy and feel that you've experienced something truly authentic. I just don't know what. I can't think of anything to compare it to.