While spending time in one of the most captivating cities in the world is enticing, the main reason to check this out is one of the best performances in the career of Liev Schreiber.

There are many rewards to be found here, not the least of which is a skill at staging scenes with beginnings, middles, and ends that are entirely dependent upon the subtle interactions of a few actors who live or die on the basis of the words they've been given to speak, and the silences they've been encouraged to inhabit.

Together Together is not just smart, it's sneaky-smart.

Director Lara Stolman explores this paradox — that these young men must submerge themselves in the water to emerge as the best possible versions of themselves — with her modest documentary feature debut.

A few heavy-handed stabs at commentary aside, “Queens of the Dead” gets by with good, flirty cheer.

This is the kind of solid, grown-up drama we don’t see very often anymore. In a world of superhero blockbusters, this low-key throwback of a Western is the stuff of timeless cinema, but it may as well be a unicorn.

Traditions are people’s stories, connecting them to their ancestors, to this patch of ground. Knowledge is passed down literally—recipes, sewing patterns, hand-drawn truffle maps—but also symbolically; myths, fables, fairy tales. You can’t put a price on any of it, and that, ultimately, is what Trifole is all about.

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.

The result is a slow burn of a drama with a restrained tone that may put off some viewers, but which will captivate those who responded to its low-key wavelength.

A Danish revenge Western starring Mads Mikkelsen, is a very real movie, and it is directed by Kristian Levring (“The King Is Alive”), whose sensibility is a little more nuanced than that of the sensationalist Refn, which is all to this movie’s benefit.

Never Goin’ Back would make a good drive-in movie, if drive-ins were still a thing. It’s breezy, benignly outrageous, equal parts grotty and sweet.

This one is about 15 minutes too long. It could well have skipped the teen party at an enormous mansion and done with a less protracted misunderstanding. Other than that, it is a delightfully adorkable time.

Kraume’s mounting of this tale, while capable enough, is also rather staid and conventional.

So, no, this is not a frivolous film. There are a few surfing sequences that provide a rush of “whoa!” adrenaline, and some breathtaking Hawaiian landscapes on display. But the movie is a character study more than anything else.

Megalopolis is a film drenched in its science fiction and classical influences, captured with insane filmmaking choices that often place shallow performances against a backdrop of deep cinematic flourish.

Regardless of where you fall on the issue, “Eternal You” is undeniably beautiful, with artful cinematography from Tom Bergmann and Konrad Waldmann that creates an air of mystery from the very beginning.

Although immensely entertaining, Theodore Melfi’s screenplay has some unexplained potholes here and there which will have audiences scratching their heads from time to time. Regardless, it’s clear that director Paul Dektor’s empathy and heart dwell in the right place for a story ultimately asking the questions of what one needs to be happy, how far we are willing to go to achieve it, and what role does loneliness play in these life-altering decisions?

Cocote, filmed entirely in the Dominican Republic, is filled with such images, seemingly unconnected to one another at times and yet when placed in collage they create a powerful and visceral experience.

The mosaic arrangement of material ensures that no one subject can be covered in detail -- the sum total sometimes plays like a very good themed edition of "CBS News Sunday Morning" but with a wickedly funny narrator -- and a couple of segments, notably one about a rehab clinic for gaming addicts, feel intellectually undercooked.

While this isn't another Garbus documentary, she’s made a film with all the power of great non-fiction storytelling, and found a way to make the emotional message of this story hit home in a way that it wouldn’t have otherwise.

A soulful, uplifting, but also heartbreaking look at race and poverty's impact on troubled childhood, Alexandre Rockwell's Sweet Thing is a welcome return to form for the accomplished indie filmmaker.

It’s a well-made, accomplished piece of filmmaking that works because of how it focuses such a large case down to its key players, thereby illuminating how something like this could happen to anyone.

This strikingly eye-filling movie, directed by Matty Brown and shot by Jeremy Snell, is deliberately low on exposition.

The New Black is an informative, measured, and never-not-engaging documentary about the emergence of LGBT consciousness in African-American communities across the U.S., and particularly communities with a strong church presence.

It's as enthusiastic yet inscrutable as Wonka himself, played with an elegantly withholding quality by Chalamet, who in moments of quiet contemplation and madcap inspiration could be Gene Wilder's long-lost grandchild.

Mistaken for Strangers was a group effort. And also an act of love.

Chism's cast is game for her shenanigans, and the biggest pleasure of "Peeples" is watching them cut loose under her direction. This movie has one hell of a cast.

A coming-of-age story that melds fantastical elements with its exploration of what it’s like to grow up looking different from everyone else, The True Adventures of Wolfboy, with its affecting performances and direct rejection of normalcy, works like a charm.