“Copperfield” is a grand, long novel, and in reducing it to 120 minute scale, Iannucci has hewn it to something almost anecdotal.

Moreno, who is brash and self-effacing, thoughtful and charismatic, has such a commanding presence on camera; every time she speaks, you unintentionally lean in a little closer, hanging on to every word she has to say.

This is screen acting of a very rare sort, and Clemency is a vital emotional powerhouse sorely deserving of being seen.

Fancy Dance reminds us of how communities care for each other, regardless of the risk involved. Tremblay’s narrative debut is simply beautiful, and hopefully, there’s much more to come.

There is no crying in baseball, but you might just be reduced to a puddle of tears while watching Bolan’s film, which finally brings the duo’s love out of the shadows and gives it a long-overdue chance to shine.

If nothing else, see it for Danielle Deadwyler’s incredible performance. She truly is unforgettable.

This is a work just as startling and potent as anything she has done to date — a powerful example of art being used to exorcise personal demons that is anchored by two stunning performances and some of the most gripping moments to be seen in any film so far this year.

Mood is ephemeral, but it helps establish point of view and orients us in the dream-space of the film. With all of the things that Christmas, Again (written and directed by Charles Poekel in his feature debut) does well (and it does almost everything well), the most striking thing about it is its evocation of an extremely specific mood.

Unabashedly pro-choice, Trapped is not a debate itself, but it has no need to be.

Writer/director Liu Jian has taken familiar stylistic elements, and made them feel fresh, and exciting. Have a Nice Day may be Jian's second feature after "Piercing I," but it feels like a major breakthrough.

Easily the most important film anyone has released this year, it is a documentary that deserves to be seen by every sentient citizen of this country – and indeed the world.

It’s a puzzle with a few pieces missing; standing back from it, you can still see the picture. But does it give the viewer exactly what they want? See the title.

Genius, this movie believes, is real, whether it’s failed or successful.

The result might be less fulfilling this time, but “Dory” is ultimately worth the voyage.

Though Donald Trump is never mentioned by name in all 140 minutes of Ai Weiwei’s new documentary, Human Flow, the picture is, quite simply, the most monumental cinematic middle finger aimed at his scandal-laden administration to date.

For this viewer, the formal element and the narrative never quite cohered, and I wound up admiring the movie for its ambition while unsatisfied with its achievement.

Absolutely no one is phoning in “Longlegs,” and that commitment to craft and mood has an impact. It may be disappointing that it doesn’t land with the same force promised by the viral marketing, but nightmares are unpredictable like that.

Strategy combats chaos, strategy focuses people on one goal, and with strategy, winning is actually possible. That's what The Dark Horse is all about.

The Gift uses the tricks of the thriller trade well, but why it really works is that it withholds the necessary information until almost the very end.

Every Body is a moving, fascinating look at a too-often-ignored subset of the world's population, filled with empathy and understanding but also a cool, analytical anger about what history has put them through.

The trouble is that while many of these bits and pieces are often fascinating, they never quite pull together into a truly compelling or satisfying narrative.

Dear Mr. Brody does a fine job of showing how the financial chasm between rich and poor people is as wide and insurmountable today as it was in 1970.

The best thing about Victoria isn’t actually its technical prowess—it’s the lead performance from the mesmerizing Laia Costa as the title character.

A movie that will soothe the hearts of every single female journalist who, on various occasions, felt pushed to the periphery while bearded dudes in plaid tossed around their self-satisfied takes, “Mile End Kicks” instantly offers a breath of fresh air about what it means to pursue one’s passion for writing about the arts while being a woman.

This is a moving drama about people pushed together by fate who end up not merely helping each other survive but elevate through an increasingly harsh world.

Queen of Earth is terrifying because it is so emotionally unmoored—Catherine is a character with little reason to care about anything or anyone, and Perry and Moss convey the danger of that brilliantly.

It’s charmingly funny and shamelessly punny.

Sarah Polley's trust in the material—and her actors—allows for the performances to flourish, and the performances drive the story along with the barrage of words.