The deliberate pacing, cinematographer Tómas Örn Tómasson's images reminding of the vulnerable human scale against the landscape and the skeletal narrative, bringing a refreshing purity to a classic predicament.

The movie jumps between reality and fantasy, and its device, Zed’s autoimmune disease, where the body is literally rejecting itself, is perhaps a bit of an obvious metaphor for Zed rejecting his cultural roots. But strong, heartfelt and sincere performances, especially by Ahmed and Kahn draw us in.

Assembled by first-time French director and Callas devotee Thomas Volf, this adoring clip reel has both pros and cons.

There is enough story, enough heart and action here for a fun time at the movies.

There is enough right and apparently painstakingly accurate about Prey – the Predator series prequel in which the now-familiar species of extraterrestrial hunters sets sights on a tribe of 18th Century Comanches – that hearing the characters speak an actual indigenous language would have taken it to a whole other level. Instead they speak jarringly modern English.

For a film where every single scene is rigidly contained within a screen — framed by an iPhone FaceTime chat, a laptop exchange, TV image, home movie or security camera surveillance — Searching has a surprising sense of momentum.

The Menu is the most entertaining ensemble film since Knives Out, and the most engaging horror-satire since Get Out. But no matter what comparisons and assumptions are made, The Menu will not be the movie you expect.

Seeking Mavis Beacon starts off as one thing and then becomes another, overall a chaotic but intriguing journey about art, identity and history in cyberspace … where everything lasts forever.

Expect deep conversations to follow your screening.

No one should mistake The Long Walk for fun. But there’s satisfaction in its endurance, in the way grim inevitability drives the narrative with allegorical force. By the credits, you’ll feel as though you’ve marched every mile alongside the boys exhausted, shaken, and strangely, perhaps, wanting more.

Spider-Man: No Way Home is a comfort-food present to long-time fans, like a cross-over episode of one or more beloved TV series, with winks, call-backs, trivia, cameos, super-villains and copious destruction.

Ralph Breaks the Internet is everything that made Wreck-It Ralph enjoyable, painted on a canvas as big as the Internet itself. The satire is sharp and the pace is relentless, a can’t miss combination for a kid outing.

Lorelei is a lovely story told with heart and without judgment.

Though the emotional appeal of this story of resistance to brutal repression is genuinely moving, the documentary has limitations in both style and content.

With its dark palette and atmosphere, Honey Bunch could have been a simpler, more disturbing and pointed story. There’s enough there to suggest as much.

What is easy to watch are the superb performances from Chastain and Sarsgaard, both of whom are emotionally naked here. Their job is to convince you that despite the past, an odd and unexpected relationship may well flourish in future.

As standard a documentary as it is in presentation, Blue Note Records: Beyond the Notes is cleverly assembled and edited, making the most of available archival material to flesh out the stories of Thelonious Monk, John Coltrane, Miles Davis, Bud Powell, Art Blakey, Horace Silver et al, and of Alfred Lion and Francis Wolff, the two German-Jewish immigrants who escaped the war and redefined America’s music culture.

City-dwellers may go their entire lives without realizing that the greatest movie screen of all is above their heads, telling billions of stories.

There’s one illuminating segment in Alexis Bloom’s documentary, Divide and Conquer: The Story of Roger Ailes, which might have made a fascinating stand-alone short doc.

The film succeeds on fan appeal and that’s obviously who will thoroughly and absolutely love this film.

Writer-director Genki Kawamura keeps his camera angles tight, the better to maintain tension at a boil, and makes the most of his minimal and repetitive set. Fans of the Canadian horror classic Cube should enjoy.

What National Anthem lacks in spectacle it more than makes up for in quiet moments of beauty, tenderness and heartache.

As a leading feminist voice in post-War German cinema, Von Trotta’s devotion to Bergman, the archetypal self-absorbed male genius, seems unfashionably but refreshingly forgiving.

The lack of clear identification of interview subjects and amorphous shape of the film can be frustrating. A segment on the history of book-burning, for example, feels gratuitous but, for the record, everyone in the film is against it.

Once again, [Pugh] brings a determined energy to her performance that almost compensates for the often unpersuasive, sometimes stilted, film built around her.

There’s enough of Austen’s generous social vision and her character-revealing dialogue to make this watchable but Emma. takes a long time to connect emotionally.

The new documentary Billie is for music nerds what hieroglyphics on a cave wall are for anthropologists: not so much a revelation as clear confirmation of a more nuanced life than previously known. It also has one heck of a back story.

The nut of the movie, the thing I return to again and again when thinking about it, is the issue of how much the odds were stacked against Kusama. Kusama-Infinity is a perfect movie for the #metoo era: A glimpse into the life of a woman with a vision who had the misfortune of being born at a time when even what was arguably the most progressive culture felt that it was just fine to ignore a woman’s voice.