One of the more tough-minded and effective war pictures of post-American-Century American cinema.

An appealing comedy with an unabashed streak of melodrama, sharp dialogue, and a superb ensemble cast, anchored by a lead performance by Al Pacino in lovable scamp mode.

Riddle of Fire can sometimes lose its spit, however, spinning too listlessly to the script’s mazy ruts. But there is an uncommon, finely struck sweetness to this film that keeps it from tumbling down mean, unsavory paths.

The Congress, playing fast and loose with a source novel by Stanislaw Lem, splits from its version of reality at the 45-minute mark, and at that point becomes a decadent post-modern classic.

The result is a narratively relaxed yet intensely tactile experience.

Jordan has long since proven himself as an actor of terrific charisma, versatility and humanity; with Creed III, he shows he’s just as captivating on the other side of the lens.

Some of the close-quarters beatings and fights are diminished by shooting and editing so chaotically that the action becomes incomprehensible. For the most part, though, it’s a powerful debut by filmmakers who understand human nature and would rather enlighten than provoke.

It’s steeped in traditional cultural locales and details, yet feels bracingly modern with the help of dazzling special effects and innovative action sequences.

Pepe was been turned into something he was never intended to be. His creator and steward didn't realize what was occurring until it was too late to halt or reverse it.

As in Farhadi’s films, the success of this kind of drama depends not on its thematic depth but on its surface execution. And every aspect of the execution on display here posits Jalilvand as among Iran’s most assured directors to have emerged in this decade.

Though it too readily compares to other intimate observations on life-changing connections, you could place this take by director Maïwenn somewhere between Ingmar Bergman’s masterful “Scenes from a Marriage” and Derek Cianfrance’s searing “Blue Valentine,” while never being able to forget My King's two brilliant performances from Emmanuelle Bercot and Vincent Cassel.

Much stranger than fiction, and yet it tells a story that makes perfect sense in the age of influencers and the general need to be seen.

Benediction bears the distinctive stamp of its writer/director, Terence Davies, a man whose films feel more like poetic meditations on moods, emotions, and events than straightforward narratives. It’s as if we are floating above the material, touching down in different places at the filmmaker’s discretion.

Ultimately Leviathan may divide viewers between those who find its possible meanings too numerous and inchoate and others who welcome the challenges of helping create its meaning.

While the cast may not include any names that are familiar in these parts, they are all effortlessly charming and engaging throughout.

Blades of the Guardians is a boisterous, but unhurried action-adventure that never feels sloppy despite its digressive bent. Even the perfunctory confrontations seem consequential thanks to Yuen’s knack for character-driven action.

One only has to go into his latest effort, Happy End, for a couple of minutes to realize that the old Haneke is back with a vengeance.

Rose Plays Julie is very controlled in its style: this control reaps huge rewards.

Mr. Gaga is an intense pleasure: the extensive footage of Naharin's choreography in performances over the years, beautifully captured by Ital Rziel, gives an intimate and thrilling glimpse of what he is all about. Naharin's work is distinct.

If its account of Randi’s work as an exceptional entertainer and a zealous debunker were all that An Honest Liar gave us, it would be a tremendously fascinating film. But the movie also contains a third-act surprise – which won’t be revealed here – that makes it both unexpectedly revelatory and deeply moving.

One of the many “stand up and cheer” moments in Morgan Neville’s enchanting documentary, at least for me, is when cellist Yo-Yo Ma describes his first meeting with the man who will forever be known as the proprietor of “Mister Rogers’ Neighborhood.” “He scared the hell out of me,” says Ma.

People are not good or bad in The Cut — they are subject to violent whims, and rarely given fair opportunities to defend themselves. The Cut can therefore be seen as a historical corrective.

The Starling Girl is so effective because it feels so specific to the character Parmet creates but remains accessible to people who haven’t shared her experience. The film is rich in detail, both in the sense of what it’s like growing up in a very religious community and what teenage rebellion looks like when just acting like an individual is enough to earn a stern talking to from an elder.

The Mustang becomes an emotional powerhouse in its final act.

By the end of the film, you feel you know these people. You still may be a “blow-in,” but they’ve allowed you access to their inner worlds, they’ve allowed you to see them.

It's an extremely strong and upsetting film, yet another example of the fascinating things going on in Romania's new wave, with a breathtaking lead performance by Luminita Gheorghiu as Cornelia.

It’s one of those movies that reminds us that great drama and comedy can come from the most unexpected, ordinary places. We all have a place like Green Lake.

It is like watching a flower bloom, delicately and compassionately portrayed by writer/director Tommy Dorfman and a beautiful performance by Fogelmanis.