Ms. Deneuve has been directed by everyone from François Truffaut to Roman Polanski, but she has gone on the record saying she has a special rapport with Mr. Ozon (the 2002 film "8 Women" remains a classic). He brings out such a loopy delicacy in her that she shines-a charming, witty centerpiece from start to finish.

Suffice to say that a number of Sacha Baron Cohen’s trolling antics amid this year’s coronavirus pandemic make a lot more sense once you watch the film.

Charming, insightful and funny, The Meddler takes familiar material (the mother from Hell and the daughter from Hunger) and infuses it with affectionate, slap-your-thigh humor. It also crowns Susan Sarandon with one of her most endearingly irresistible roles in years.

A grand, shocking saga of a movie, The Homesman is the kind they don’t make much anymore.

Written and directed by the prolific François Ozon, Everything Went Fine is an exemplary work that intelligently explores the pros and cons of euthanasia with the kind of love, truthfulness and power that is rarely captured on film.

This is the most unwatchable horror movie masquerading as social comment I have seen this year.

Omni Loop is good enough at telling a story sweetly, but it does falter in its 110-minute runtime. The sci-fi elements are left to the wayside at times, even when they seem ripe for making metaphors and deepening the story.

A good cast and the speed-dial theme of eco-terrorism should really add up to a film of more substantial mind over matter than the dull, talky and ultimately pointless espionage thriller The East.

It’s as exhilarating as any epic American thriller, and better than most. Racing pulses and a state of awe and terror are guaranteed.

Misguided and lethargic horror movie.

Rory Kennedy’s Downfall: The Case Against Boeing is a swift and beautifully clear documentary about many things, chief among them the cost of profit above all.

It might prove to be too insular to appeal to a wider movie audience, but to a passionate Anglophile like me, Queen and Country is a funny and nostalgic portrait of a bleak, rationed postwar England still digging its way out of the rubble.

It’s quite a story and a cinematic task writer-director Angela Robinson is not always up to. But I wasn’t bored, and in this anemic year that’s saying a mouthful.

It’s a routine story, worth seeing for the galvanizing (pulverizing?) star performance by a smashing Liev Schreiber in the title role.

A debut feature by American writer-actor Brady Corbet, the film is sketchy, confused and too self-consciously aimed at arthouse audiences to thrive commercially, but it has a chilling impact.

Yes, this is a great one, and a magnificent centerpiece performance by an unknown actor named Paul Walter Hauser in the title role is a major reason it is so unforgettable.

Unfortunately, it’s a fairly unimaginative, largely unconvincing, often dull and always predictable example of the genre with few thrills and no surprises, and the only thing it raises is a surfeit of puzzling questions about why the wonderful actress Rebecca Hall can’t find a script to show off her abundant skills in a vehicle someone might remember.

It’s not the predictable plot that holds interest, but the unusual smart-aleck script by British writer-director Bart Layton that blends elements of the true story with an almost journalistic approach.

Leave the World Behind is a dumb movie disguised as a smart movie, a middling thriller whose decorated cast and tricky camerawork can’t compensate for its undercooked, overwritten script.

A family epic that is strangely ineffectual and disappointingly underwhelming.

The film, written and directed by Martha Stephens and Aaron Katz, is slow as Christmas, but the two protagonists grow on you, like a Virginia creeper vine climbing a garden wall.

You learn things from it that should be required viewing for the screening room at the Pentagon.

After "Enough" and five "Death Wish" movies, the revenge genre is not without its recurring clichés, many of which get defrosted and microwaved again in A Vigilante. The point, if there is one, is that “heinous criminal felonies are acceptable if they are justified by a woman driven beyond the limits of reason.” As one battered wife says, “Every graveyard is full of people who didn’t make it.” The same is true of old movies gathering dust in Hollywood film vaults.

She’s (Moore) the best thing in this toxic carnage of creepy, self-indulgent decadence, but under the direction of loopy Canadian David Cronenberg, she goes beyond the limit of acceptable artistry.