Is it all too cute? Almost, but not quite. Fire of Love is saved by the joy of film craft that pours forth both from the Kraffts and Dosa.

It’s not perfect, but when it works, Byzantium towers above all of the romantic vampire slobber we’ve been getting lately. I fear that Dracula is watching from some moldy crypt somewhere, nodding approval.

It’s far from subtle, more than a little sudsy, but also pleasingly direct and full of heart. Most significantly though, its timing is perfect.

The screenplay, by Kelly Marcel and Sue Smith, seamlessly captures two different eras with overlapping story lines that never intrude or confuse.

It’s rare to see a film directed by a woman who knows more about men than they themselves do. With Handsome Harry, the widely respected independent filmmaker Bette Gordon has hit a bull’s eye.

The four stars deserve better material, but even they seem to enjoy themselves (and each other). Call Book Club: The Next Chapter the rare sequel that looks like an all-expense-paid vacation.

Scathing and funny and cynical about contemporary society and the hypocritical way we live now, Carnage may not be the dream movie I expected, but it has a dream cast of pure, unimpeachable ensemble perfection.

Not a great film in the same vein as "Badlands" and "Pretty Poison," but a very good one that is well worth seeing.

I liked the sensory strengths of a movie without anything of beauty to look at, but Don’t Come Back From the Moon eventually fails to involve viewers completely because it’s about the consequences of a wasted life instead of the sorry events that lead up to one. Poignant and close, but no cigar.

Berry knows how to seize the center spot and hold on tight. In Kidnap, she gets quite an exhausting workout, and so does the audience.

The Magic of Belle Isle is a warm, human, feel-good experience about bringing out the best in people, one that brings out Morgan Freeman's best performance in years.

So skillfully directed, photographed and acted that it sucks you into its powerful emotional storyline from the start and holds interest to the finish. Despite its length and intricacy, you can’t call this one boring.

It's all about personality and Joan's inimitable style, which fills every second of its 84 minutes.

It’s a universal, American “anyone can make it” success story that has uplifting appeal onstage, and in Mr. Eastwood’s capable hands, the joy spreads like apple butter.

The remarkably expressive Mr. Siddig is sympathetic and true as the tortured father, communicating reams of emotion with his eyes, and Ms. Tomei is totally charismatic as his discarded lover who helps him out of a sense of humanity.

There is still something to be said for skillful, old-fashioned filmmaking, and director Joseph Kosinski has done plenty of it here. The result goes with popcorn like butter, and I liked it in spite of myself.

Even when the larger world that surrounds them is fuzzily rendered, when Wilson, Wolfe, Davis, Boseman and all those fabulous actors past and present are serving as our guides, gaining entrance into such uneasy places feels like a true gift.

The cast is uniformly excellent, with Francisco Reyes a particularly likable beam of strength and light as the unfortunate Orlando, but the film’s great triumph is Daniela Vega, a transgender actress and singer, who makes an indelible impression in the leading role.

By the time Wright’s somewhat exhaustive film concluded, every moment of it propelled by a high-octane geeky affection that felt like a newly discovered alternative fuel, I was in the strange duo’s thrall.

A real-life story with social issues about capitalism that is entertaining and funny while it makes you think, without being too earnest and serious.

The third and final entry in French writer-director Florian Zeller’s acclaimed trilogy of plays about conflicted family values in perpetual crisis, The Son is a bold, harrowing and unflinchingly sobering film that is admittedly not for every taste, but an unavoidably intelligent piece of filmmaking for mature viewers that I highly recommend.

The Good Catholic is a sober, thoughtful and well-made little gem about a young priest torn between his dedication to God and his sudden physical and emotional attraction to an unconventional woman who forces him to question his faith and his purpose. It’s a small film in every way, but I found it riveting.

In the end, it’s the animals who conquer the emotions and provide the suspense in The Zookeeper’s Wife.

There are humorous intrusions (e.g., an art show at Jeanne’s gallery that includes Nazi symbols constructed from penises), and great performances throughout.

A mildly entertaining but well acted, sumptuously photographed and smartly written comedy with dark undertones about culinary addiction that can only be called “delicious.” See it and then check your cholesterol.

Sweet and well-intentioned but bland and disappointing, The Miracle Club is one of those slow, meandering Irish dramas that inspire more respect than excitement.

In a bravura performance that is the primary don't-miss reason for its existence, he (Carlyle) gives California Solo all he's got; even in scenes that just exist to pass the time, his presence informs the essence of the man he plays and the humanity of the film itself.

A riveting homage to an extraordinary force as dynamic as she was unique.