A well-intentioned documentary that makes the puzzling miscalculation of upstaging the Armenian Genocide with “The Promise.”

It’s an admirably vicious piece of work when it wants to be—although arguably could have gone even further and more frequently.

With “SALLY,” Costantini delivers a doc that speaks to the heart and goals of someone who redefined what it means to break barriers.

Carroll’s film never loses sight of Kennedy. It would be almost impossible to do so. She’s a prickly character, an energetic curmudgeon who wields her sharp tongue as readily as she cuts tomatoes with a knife. She will not suffer fools asking her to change recipes or vendors trying to sell her items that don’t meet her high standards. She’s an intimidating presence, even in her old cooking shows from decades ago, who seems unforgiving of mistakes.

Mayor doesn’t feature an impassioned speech detailing the Palestinian people’s ardent plight for freedom because it doesn’t need one. Watching the confrontation in near real time, with lives on the line—a testimony to Hadid’s utmost commitment and hands-on leadership—conveys a forthright message.

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

If this material were compiled into a book, it would be rightfully deemed great literature. As featured in Heise’s film, however, these insightful words are frequently marred by a style oddly akin to a mournful podcast, one that requires listeners to repeatedly peer at their phone to read the subtitles.

The Man in the Basement doesn’t endorse a single answer; it ends on a deliberately tentative note, leaving the viewer thoroughly unsettled.

A well-done but all-too-woeful wallow of a documentary.

It's as visually indistinct and paint-by-numbers-plot-driven as most Marvel Comics-based projects, especially the gaggle of recent Avengers-related films.

The German boys are very well cast, with young actors Louis Hofmann and Joel Basman especially giving the kind of striking performances that should lead to other films.

In this flavorful milieu of genres, Manzoor emerges with a sensibility that’s uniquely hers and a thrill to watch. Kansara, also making her feature debut, brings an energetic presence to the screen, matching Manzoor’s irreverent humor and sharp dialogue with pitch-perfect delivery.

Finley has created a film that feels original and alive.

On the fresh side of the bun, The Bob’s Burgers Movie is briskly plotted and nails the big heart and wonderful characters of the beloved FOX show. On the stale side, it lacks a little in the ambition department, setting up an interesting tale of various issues of doubt within the members of the Belcher clan only to not do much with that set-up until a rushed finale. But it’s never boring, and it’s smarter than most pop culture-obsessed children’s entertainment.

It may not meet the high watermark of the brothers’ first outing, but “Bring Her Back” is still quite the wild ride and shows the pair still have plenty of spooky tricks up their bloody sleeves.

There is plenty of visual razzle-dazzle, to be sure, but not much else.

The process of transformation is the story, and the story truly belongs to the artist.

This is an inspiring film, a funny and informative feature whose subjects were creative kindred spirits I’d never seen onscreen before. I realized that I was being represented here, and my unreconciled shame morphed into a sense of liberation.

Afterimage is mounted in a classical, beautifully understated style that throughout conveys the relaxed assurance of a true master. It’s one of those films that doesn’t ask to be liked or admired, but only to be heard.

La Cocina is a phenomenal showcase for Briones, who gives one of the most mesmerizingly multi-faceted performances of the year.

A quiet, heartfelt, and beautifully nuanced drama that feels unique and universal, featuring what will surely go down as one of the best performances of 2023.

While Gondry calms his creative instincts to toy with the ordinary, he indirectly errs on making Microbe and Gasoline his first forgettable film.

As Aaron’s star patient and best friend, LeBron James is kind of wonderful playing a version of himself who’s sensitive, analytical and strangely stingy. It’s an inspired casting choice.

Most of all it is a pure story about love, without the scandals.

There are laughs aplenty, even as “Sister Midnight” begins to lose creative steam, with the wheels falling off, and the further it falls into the repetitive macabre. But Apte remains the glue holding it all together as the film imagines its prototype of the monstrous feminine.

What Emily does so well is establish a mood. The mood is flexible enough to contain multitudes.

Nothing will break your heart as much as watching this man, desperate to keep this woman in his life, waltzing around the room with a laptop in his arms while staring into her faraway eyes.

Filmed over the course of three years and clocking in just over 70 minutes (minus credits), When Lambs Become Lions is a triumph of shrewdly economical storytelling on the part of Kasbe and his co-editors Frederick Shanahan and Caitlyn Greene.