It's a rapturous experience, mostly, though tempered by a certain Godardian crankiness. Watching it is, I would imagine, as close as we'll get to being able to be Godard, sitting there thinking, or dreaming. It's a documentary of a restless mind.

The main reason that Time to Choose feels different and has value is that it actually offer solutions and hope.

So much of “Influencers” works as well as it does because of Harder’s cleverly unpredictable and often remarkably funny script.

The movie may be hard to explain, but it's very fun to watch. It's a fast-paced delirious movie about a very slow unchanging world.

Jinn holds several beautiful elements, especially in its central mother-daughter story.

There are times when Verhoeven is throwing so many ideas into his purposefully overcrowded screenplay that it starts to feel unfocused, like a dramatic version of the legendary "Aristocrats" joke. And yet there are also times when it feels like a culmination of his career, a film he was inevitably going to make in how it distills sexuality, corruption, broken systems, and provocation into one fascinating story.

The third film from writer/director Travis Stevens (“Jakob’s Wife,” “Girl on the Third Floor”) is forged in fire and blood, taking his eye for striking visuals and elevating it to psychedelic new heights.

It doesn’t deal in easy gags or low-hanging speeches. It understands both the thrill and the agony of desperately waiting for your dream to ripen on the vine.

The film represents a formidable achievement for Fiennes as both actor and director.

It features Cody’s hyper-verbal brand of snark, cynicism and subtle poignancy, but it’s tinged with the wistful perspective that comes from hard-earned maturity and experience.

The movie feels less like a prosecutorial document than an autopsy of a government's conscience, pinpointing the time of death.

Thyberg keeps her cards close throughout Pleasure, using the film’s verité framing to obscure the extent of her involvement as a director. The film feels even-handed, in the sense that its fly-on-the-wall style lets situations speak for themselves.

Time out of Mind seems to have been undertaken for no other reason than that the filmmakers and actors believed in the truth of the material. How many American movies can you say that about?

I’ve been trying to think when there was a historical drama I found as electrifying as Joe Wright’s Darkest Hour. It may have been Steven Spielberg’s “Munich,” which topped my 10-best list a dozen years ago.

Even if this documentary directed by Lisa Hurwitz had nothing else to recommend it, it would be worthwhile as an excellent source of Mel Brooks.

A few compelling emotions and themes are suggested but rarely well expressed in Nimona, a sometimes cute but mostly hyper and overextended animated sci-fi fantasy.

It’s always a pleasure to see Blythe Danner in a movie. And it’s even more of a pleasure to see Blythe Danner in a good movie. No, not a good movie. A really good movie.

If his work still shocks, it stirs the soul, for he was a classicist reaching for the perfect form.

I can't think of another recent domestic drama that is simultaneously so optimistic and so melancholic.

But the movie is best of all a showcase for Dyrholm’s full-fledged interpretation of Nico, who is distinctly removed from the poppiness anyone might have for her earlier work, whether it's the "Velvet Underground & Nico" or her solo record "Chelsea Girl."

With visual precision and remarkable intimacy, Hannah Olson's documentary The Last Cruise recalls the harrowing 40-day quarantine aboard the Princess Diamond cruise ship at the outset of the pandemic.

Nature is the most fascinating element of The Seer and the Unseen, but Dosa is more focused on Ragga and the elves.

Even at its most traumatic, Santosh gives viewers plenty to consider.

Stiller & Meara is a fascinating window into not only the history of this famous family but also the beautiful and punishing nature of performance itself.

As a distaff version of James Bond in Spy, Hollywood’s reigning empress of ha-ha Melissa McCarthy has a license to not just kill the audience with laughter but also to slay us with her acting skills.

Carpignano’s impressionistic plot and pseudo-naturalistic style also tends to boil down human emotions so as to only suggest rather than reveal complexity. The limiting style and characterizations in A Chiara are only so thoughtful.

Night Moves eschews traditional tension-building through plot twists and betrayals to focus on its characters, as Reichardt uses her increasingly impressive sense of composition and intuitive pacing to slow burn the audience into a state of anxiety instead of manipulatively pushing them there.

If you’re not enraptured with the work of Hayao Miyazaki, Isao Takahata and the rest of the artists at Ghibli, it may not be precisely what you’re looking for, but Sanada captures something poetic about art and creativity that could speak to anyone, animation fan or otherwise.