Compensation, director Zeinabu irene Davis’ masterpiece, is a film guided by the desire to represent facets of Black life and history left relatively unexplored.

Millers in Marriage isn’t a science fiction movie. Which is unfortunate, because if it were, we might’ve gotten a decent explanation for why one minute of the characters’ lives makes you feel as if you’ve aged a month.

It glides along the surfaces of its characters and its world and rarely digs as deep as one might like. But the experience is intense, and the surfaces are beautiful.

The battle scenes are grand, the martial arts fights are fleet and impressive, and the romantic drama is taken seriously enough. It’s a bit of a headache, but “Legend of the Condor Heroes: The Gallants” still has its cornball charms.

This is a warmed-over remix of crime comedy and thriller tropes, as awkwardly paced as it is murkily shot.

With a tender spirit, gorgeous Tulum locations, and a poetic, dialogue-driven calmness, Pritzker’s “Ex-Husbands” is a surprising delight, astute and humorous about humans that both lived a long life and are just starting out their adventure. It’s a movie that looks back and moves forward, with grace and wisdom.

While “Cleaner” may not be one of the most refined action movies this year, it has a bit more to offer than most, especially when it comes to Campbell’s thoughtful direction and Ridley’s committed performance.

The movie is a very sincere and good-hearted adaptation, but it loses focus by trying to include too many elements of the real-life story.

The best thing about “Invader” is that it’s short. But for much of its 69-minute runtime, it is thoroughly unpleasant, which makes it feel much longer.

Ne Zha 2 is a rare sequel that amplifies both its action and drama without sacrificing much of what already worked in the last movie. It’s also a rare blockbuster that offers something worthwhile for a wide-ranging audience.

It’s a throwback to goofy action movies that don’t get made at this budget level that often anymore, a time when major studios would release an original flick about massive sandworms in the desert or J. Lo and Ice Cube fighting a giant snake. To that end, despite a clunky set-up, “The Gorge” delivers on its potential.

Paddington in Peru is pleasurable mainly for its just-hanging-out-with-friends vibe, which it wears with quiet grace.

Co-written by Rankin, Nemati, and Ila Firouzabadi, “Universal Language” is delightfully absurdist, with little moments in each story that both make sense yet defy expectations.

Rounding doesn’t quite make its own case, in terms of the symbolism it throws into the mix, but as a portrayal of a man falling apart from overwhelming stress it works quite well.

Judgmental and ungenerous, Alex’s story gives you enough answers to either tsk-tsk or nod sadly in response. The rest’s up to you, the viewer, which feels like a bit of a cop-out.

I can’t decide whether it’s the relative disposability of the narrative, the unremarkable animation, or the fact that this just feels like another spoonful of content thrown into Netflix’s trough, but “Sirens of the Deep” reads like so many empty calories.

Like the worst kind of voyeuristic, heterosexual swingers, the film dabbles in non-monogamy and same-sex attraction solely as a means to heteronormative ends.

Ultimately, “La Dolce Villa” is about as authentic an Italian experience as a night at the Olive Garden.

This movie is anything but brave. It is the most feckless, spineless blockbuster of the last decade.

At every turn, “The Annihilation of Fish” is wonderfully surprising.

Suze invests in its characters, allowing them complexity and ambiguities. Everyone is full of surprises.

If you’re someone who treasures the music of Led Zeppelin more than you’re interested in the legend—or the gossip, or the dirt, or whatever you want to call it—of Led Zeppelin, this movie is absolutely for you. I’m one of those people, and I ate it up.

For all its ferocious focus, this is a relatively quiet movie that embraces its smallness.

As a showcase for young American talent, it’s tough to beat. At its best, it reminded me of a rougher, more glassy-eyed 21st-century version of the kinds of movies Whit Stillman—and later, Noah Baumbach—have made.

The always-engaging Renate Reinsve delivers yet again (as does talented co-star Ellen Dorrit Petersen). However, “Armand” is a frustrating, over-long movie that starts with an intriguing premise and then starts fighting it almost immediately.

Even if it falls short in some regards, “Kidnapping Inc.” is a splashy debut that commands your attention from start to finish.

Made in collaboration with Yves Saint Laurent, “Parthenope” is nothing if not a sumptuous feast for the senses.

Despite Quan’s best efforts, there isn’t one square foot of this tepid film worth buying.