This is a film that captures how art isn’t just how we heal; it’s how we live. And how we can each write our own symphony, especially if we have someone who inspires us to do so.

The filmmakers do seem frequently flummoxed by the scale of the narrative, and you get a sense of them trying to cram a lot into a two-hour running time.

Good Burger 2 is a sentimental slapstick sequel chock full of fun cameos and absurdity, yet it doesn’t divert itself enough from the familiar path. It serves up little more than nostalgia, with some solid laughs but too little that are memorable.

Directing and starring as the legendary composer and conductor Leonard Bernstein, Cooper has crafted a film that’s technically dazzling but emotionally frustrating.

The vast majority of "Menus-Plaisirs Les Troisgros" finds Wiseman and his cinematographer James Bishop finding a good spot to observe two or three or many more people doing a thing and just leaving it there and watching what happens. Each of these moments is rich enough to feel like a short film unto itself: sometimes explanatory, other times subtly funny or empathetic.

Thankfully, while “Monster” depends on dramatic irony and revelatory twists, it’s also a showcase for director Hirokazu Kore-eda, whose knack for collaboration brings out the best in his actors, especially his younger cast members.

What makes a space feel safe? The small miracle of the Estonian film “Smoke Sauna Sisterhood” is that it does more than show us a blissfully safe space; it invites us inside.

It's a PG-rated movie about a goofy genie and a dad who learns a life lesson, so the bar may be low for families looking for a bit of Hallmark-esque escapism this holiday season. But that doesn’t mean one can’t wish this was better.

Against the Tide, a documentary directed by Sarvnik Kaur, depicts environmental disaster with an intimate lens.

Pickles in a bag, runaway sheep, dusty roads, the same movie over and over until the tape wears out—these are the sense memories that remind the filmmaker who he is and where he comes from. To share it with the world in this way is an act of profound generosity and love.

There’s no way to enjoy “Cypher” without seeing it as an elaborate and often exasperating joke at viewers’ expense.

Leo can sometimes have a jolt of energy from its slapstick sequences or its bright color palette, in which Leo the lizard flies through the air, floats on a bubble, or meets other talking animals. But it's all defined by its assembly line animation, in which the spell of watching life-like characters and settings can be easily broken by looking at the backgrounds of shots for just a few seconds.

This wish feels like it didn’t fall from the sky but was crafted by a producers' room with an eye for the highest profit margin. It leaves one wishing for something that feels human and true.

May December is one of Haynes' most unbalancing and provocative films.

Next Goal Wins exists as proof of the invulnerability of a certain movie template and as a Frankenstein patchwork of previous films.

It has a smidge of depth and takes chances that similarly worshipful documentaries probably wouldn't. But it also cracks a lot of doors without actually opening them up and walking through them.

An update of “The Talented Mr. Ripley” set in the mid-aughts, “Saltburn” is deliciously, wickedly mean—seductive and often surreal—with lush production values and lacerating performances.

The key to this movie’s winning emotional delicacy is its formal sturdiness. Every shot has a specific job to do and does it well. The performances are measured and restrained.

The Disappearance of Shere Hite feels like an epitaph and a reclamation of her legacy.

It is sweet without being sugary, colorful, and very charming, with terrific voice talent and a lot of music. It’s the best of the three.

In a sense, Jones’ musical talent and originality, as well as his status as a pioneer of world music, are alluded to more than seriously examined and appraised, and that must be counted as a lack in the film.

Consider Dashing Through the Snow more of a disappointing stocking stuffer than an exciting present under the tree.

The sensibility behind “The Strangler” is sufficiently unusual and stalwart.

This one is more forgettable than it could have been but also nowhere near the disaster that often comes when members of Lorne Michaels' troupe are allowed out during the day.

“Snow always lands on top” is the longtime credo for Coriolanus and his family. The question of how it falls, and whether it sticks, makes “The Ballad of Songbirds & Snakes” a surprisingly suspenseful prequel.

Thanksgiving is thrillingly pure in its nastiness and has more in common with ‘80s films like “Mother’s Day,” “Graduation Day,” and “New Year’s Evil” than its modern mainstream peers (the “Terrifier” blood bonanzas are an indie exception). Roth’s head-chopping whodunit doesn’t use “Grindhouse” aesthetics, but it’s a classic at heart.

Say what you will about Scott’s most divisive movies—they’re usually big swings with big ideas. What’s so disheartening about “Napoleon” is how small it ultimately feels.

You still might get what you want from Tiger 3 during the action and musical scenes, which have their moments.