It is filled with the luscious, beautiful 2D animation that we’ve come to expect from Ghibli, and if the storytelling sometimes gets a bit lethargic for its own good, we’re more forgiving just to have one final dance in the moonlight.

The Storms of Jeremy Thomas, about the career of one of the most important film producers of the last 50 years, is one of Cousins' best and most entrancing films.

The fascinations of Obit, Vanessa Gould’s slick but entertaining documentary about the New York Times obituary department, operate on two levels.

The film does not offer excuses for violence, and neither should we; instead, it prompts reflection on where compassion and control are needed and where the pursuit of them falters.

These documentarians masterfully construct their vision to elevate and serve their subject. The result is more low-key than one might expect from a movie about rap. It is also more powerful, bypassing the expected artist braggadocio to stand on the rarely visited street corner of sociology and hip-hop music.

The movie's delicately timed pacing and Pollack's visual style work almost stealthily to involve us; we begin to feel the physical weariness and spiritual desperation of the characters.

With a combination of power and grace, Julianne Moore elevates Still Alice above its made-for-cable-television trappings, and delivers one of the more memorable performances of her career.

It's richly imagined, and you can tell everyone had fun immersing themselves in this strange and often disturbing world.

The fact that it was made by her nephew, actor/filmmaker Griffin Dunne, gives it a warmth and intimacy that might not have graced a more standard documentary.

Without a single arthouse touch, this ultimately charming trifle could well be an American rom-com were it not quite so, well, promiscuous. In that French way.

This film's message that it's truly better to give than receive is especially timely, combined with the now-nostalgic images of maskless people crowding together and giving each other hugs.

It takes its stylistic cues from a variety of sources, including German expressionism (particularly the frequent silhouettes) and "A Charlie Brown Christmas."

The film is thought-provoking, visually arresting, and occasionally very self-important.

In the true spirit of this profoundly uninteresting movie, Donald Cried can only shrug through its central notion that men will be sad boys.

In 1966, film critic Pauline Kael reviewed "Funny Girl," announcing: "Barbra Streisand arrives on the screen, in 'Funny Girl', when the movies are in desperate need of her." She could have been talking about Jessica Williams.

While some elements of the story don’t work as well as the visual playground Ameen sets up for her characters, Scales is still an impressive feature debut.

The Year of the Everlasting Storm is definitely a noteworthy achievement in anti-escapism, which the current cinema could certainly always use more of.

The bittersweet Korean drama Aloners works best when it’s a character study about an isolated thirtysomething’s behavior instead of whatever her creators think should be done about it.

Thankfully, Eileen doesn't betray its source material by turning Eileen into something more palatable and sympathetic, but the film loses something in the transfer.

The Shrouds, about a widower who deals with his grief by creating a new kind of cemetery where the living can observe the decay of their loved ones’ bodies, is a Cronenbergian body horror of integrity and force.

Though this is a story of enormous cultural importance and dramatic power, it’s virtually impossible to imagine today’s Hollywood making a movie about it.

The movie is well put together, enough so that if you’re not entirely tired of its clichés, it might constitute a tolerable entertainment. I’d rather watch “Double Indemnity” for the 15th time.

It will only take a few seconds on Google to tell you how this election ends, but what only the film can do is show you how Bobi Wine evolves into a powerful spokesman for democratic values as he tries to save Uganda from autocracy.

Moss continues to deliver what we crave from woman characters: the kind of messy yet sturdy intricacy many of today’s thinly conceived you-go-girl female superheroes continue to lack.

This is the most beautiful Batman movie you’ve ever seen—even if it’s not really a Batman movie at all.

Though Overgård spends a lot of time alone with his thoughts, Arctic lacks what makes for the best movies of its ilk: it does not inspire much imagination concerning what our hero might do first if he does get back home.

Like most movies of its bent, Fed Up can’t admit the thing that Al Pacino gets so tetchy about at the climax of "And Justice For All...," which is that "the whole system is out of order."

Superboys of Malegaon, about film buffs obsessing over films and then making one of their own, is one of the most accessible and entertaining movies about the creative urge that you’ll see.