If this flawed final outing is, indeed, the last we see of Tommy Shelby, it’s still a heck of a note for the man who plays him to ride out on.

Ocean Waves is worth watching to see just how much a company like Ghibli can bring to a relatively simple tale.

Aat some point, every character in Youth falls out of love with the way of seeing the world. That kind of anti-epiphany is major—not on a universal, but rather a personal scale.

As gory as it is corrosively cynical, a supernatural mood piece that's equally influenced by the arthouse horror movies of David Lynch and Roman Polanski, and the grindhouse-ready Satanic Panic films of the '70s, like "To the Devil a Daughter," and "The Devil Rides out."

No matter how many shapes Owen takes, Krasinski's essential everyman always makes it warm-hearted and engaging. He may be surrounded by the fantastic and silly but his humanity, even in animal form, is what brings the movie to life.

The irrepressible tone of mordant giggliness this movie hits so often is entirely its own, keeping the movie buoyant throughout its over two-hour running time.

Nappily Ever After is as much a polemic as it is anything else. In a confrontation with Clint, Violet says she is sick of how much brainspace is taken up with her hair. "It's like having a second full-time job," she exclaims, exhausted.

This movie is designed for an audience already dedicated to the music of Millard and Timmons, and to the particular Christian tradition they represent. Those who are already fans will appreciate this chance to share his story, but those who do not know him may find it uninspiring.

Writer/director Sebastián Silva doesn't cheat in terms of storytelling, though. Throughout the film, he sets up these characters, and us, for what happens.

Like last year’s crowd-pleasing documentary, “Sally,” “Spacewoman” is a heartwarming and inspiring story of a woman defying the odds, sexism, and workplace danger to make history.

Far from a perfect film. But Wenders is trying to do new things within the confines of a pretty standard European art-film scenario, and the viewer can see he’s not approaching the material as though it’s rote; he’s really trying to use the camera to get through the feelings of loss the characters suffer.

Padmaavat is a rare work of pop art that is both powerful and repugnant.

If “Triangle of Sadness” falls short of greatness, it lives comfortably on the tier of goodness, even as it unpacks such bad, bad behavior.

But the true strength of Residue is in its images. Gerima finds a poetic grace in his framing while forcing you to focus on unexpected things.

Even if White Rabbit feels like the ultimate acting reel, it’s albeit for a talent you immediately start to root for.

Part one of "Arabian Nights" has many wild components and even though they adhere to their own set of aesthetic principals, they make for a strange two-hour movie (which is why it’s best to watch it with parts two and three).

From its lively and vibrant animated opening, Yan’s film is a complete blast, filled with zippy energy and irresistible girl power. And Robbie, in her seemingly endless versatility, is up for every challenge in a role that’s as demanding physically as it is verbally. She is positively infectious in the candy-colored chaos she creates.

This is what movies can do, at their best, draw you out of yourself in spite of yourself.

Monkey Man may be an origin story for a future action franchise character, but it feels more to me like an origin story for a future action star and director.

The Green Prince gets its power from the back-and-forth of listening to each side tell its story, and from the moment the two sides converge in a final, very different collaboration in the United States.

Blade of the Immortal required the hand of an experienced director, and they don’t get much more experienced than Miike.

Dead Lover is daring you to take it seriously, or perhaps distracting you with a goofy dance while it quietly queers the “Frankenstein” myth.

While it’s a bit disheartening to see such a unique performer given such a traditional bio-doc, what comes through in “Life is Short” is the affection for its subject from pretty much everyone he’s ever worked with.

A very nearly epic romance, one that approaches the idea of a ménage-a-trois as emblematic of a particular idealism on the part of its participants rather than a hotsy-totsy taboo-busting arrangement.

The Glorias is consistently a visual treat, as you’d expect from Taymor.

Despite its name and copious sex, Lonesome is surprisingly wholesome.

The Homestretch invites you to empathize with its subjects, to worry with them, to laugh with them, to worry about them. It’s engaging and compelling viewing.

It’s that graceful humanity that keeps Last Flag Flying from descending into melodrama. It dips a few too many times to stand with the filmmaker’s best work, and a few asides into “wacky old person behavior” are regrettable, but this is another solid dramedy from one of our best working filmmakers.