Uniformly strong performances help ground the story. Tremblay, who showed instincts beyond his years in the devastating 2015 drama “Room,” provides both a sweetness and an intelligence to his 10-year-old character that make him accessible even when he’s wearing an astronaut helmet to hide his face.

Chin and Vasarhelyi make a solid case for why space exploration should continue, and the benefits we could reap from it, provided it doesn’t keep our heads perpetually lost in the clouds.

Shelton and Duplass may not stray very far from the path which, at the film’s outset, they seem likeliest to take, and not every moment along that path lands quite as well as it could. But like Bird’s score, Outside In knows how to take us from the outside and bring us, well, in.

Dead Mail’s quirkiness never grows tiresome, which is impressive.

The goofier and more random the movie is, the better it is, and it certainly gets goofier and more random as it goes.

Nair has made a very smart film, whose ambitions sometimes exceed the piece's depths.

The film is charismatic and thrilling enough to bypass its shortcomings.

It's easy to make a documentary about hateful people. It's harder to focus on the impact of hateful people on those around them.

Won’t add much to the debased discourse of this miserable season.

It’s not surprising that Truth takes the perspective that it does — you don’t cast Cate Blanchett and Robert Redford as Mapes and Rather and not expect the film to side with them.

Anyone who has ever circulated, even peripherally, in any comedy club scene, will recognize all of it. It's a quick-flash study of both frenzied activity and crushing ennui.

Cornish's gift for working with child actors is still apparent, as is his knack for dynamic action set pieces. The Kid Who Would Be King is not, in that sense, everything that it could have been. But it is fun where it counts and that's realistically what matters most.

While it has too many familiar flourishes and jokes, this entertaining sequel is still a force for good, with enough visual ambition and heart in front of and behind the camera to stand on its own.

Korine’s visual gifts are on full display, capturing both the opulence of Florida and its scuzzy side in a way that finds beauty in both.

Dream Scenario gets many cringing laughs, and yet its humor—easy shots at vapid capitalist-pawn influencers, cancel culture, Tucker Carlson, and other culture wars Mad Libs—is mostly about the cheap comic thrill of getting the reference.

This movie won an award in the Un Certain Regard section of Cannes last year, and was also Finland’s entry for consideration for a 2016 Academy Award. For all that, I should warn some readers that this is a movie that’s laid back to what many would consider a fault.

It will likely fall through the cracks a bit between “After the Storm” and “Shoplifters,” but it’s worth the time for fans of Kore-eda, a group that seems to be growing every day.

There’s a lot of crunch and dazzle here. While the overall tone is pitched to a teen demographic, the creative energy and the execution on display is consistently engaging.

Only worthwhile storytellers could take an elevator pitch like this one (the last two people on Earth) and produce long-lasting curiosity about its inherent beauty and horror.

It's a work of fertile imagination that takes every step confidently, even if it isn't certain where it will lead.

Blichfieldt’s “burn it all down” approach creates turbulence and upset while walking over very well-trod ground.

For Francofonia, Sokurov returns to the art museum, but perhaps taking a cue from its Parisian setting, this film wanders like a flâneur between past and present, traversing space and history, crossing from fiction to nonfiction and back.

Bayona's film avoids many of the mistakes made in earlier versions (particularly Frank Marshall's 1993 film), but Ebert's cautionary words remain true. There's something elusive in this story, something which eludes expression.

What Convergence reinforced for me, more than anything, is simply the overwhelming gratitude I have for every essential worker who took my temperature, bagged my groceries and drove me to my desired destination over the past twenty months.

The performances in the picture are all solid, but what makes Summertime really refreshing is that it doesn’t treat its central romance as anything but wholly normal, despite the attitude of other characters, or indeed, the tenor of the time in which it is set.

Kapadia's film shows us that for better or worse, Maradona's loyalty was always to the game, and that, as much as his skill on the field, deserved more loyalty from the fans.

It’s a film that feels like an overture to an international crisis, a warning as much as a documentary.

Gemini has a breezy lethargy and the characters always look on the brink of sleep. With a cobalt and ultraviolet color scheme and a jazzy score, the movie seems to be cast in the dreariness of Hollywood dreams.