The funniest movie so far this year.

If The Square has a point — and it probably has several — it’s that the visceral aspect of life cannot be fully suppressed and shouldn’t be denied.

The film is well acted, with especially strong work by Alonso and Zegers. And director Larraín has a powerful knack for depicting human monsters. But he stacks the deck so heavily that at times the film can seem like simple-minded anti-clericalism, and at least some viewers are bound to resist.

Would be worthy of the highest rating, except for a slight slackening of energy in the last 20 minutes.

Slam, directed by Marc Levin, is schematic but effective as it makes its points about African Americans caught in the Washington, D.C., criminal justice system. It's got a wonderful eye and, for a film, ear.

The film never quite overcomes a slightly stodgy quality.

Both Sides of the Blade is what people like about French cinema. Its indulgences are worth wading through because, in its commitment to the truth about people and its willingness to explore the hugeness of normal human life, it’s unlike anything you’ll find in America.

Talented director Eran Riklis is interested in the coexistence of cultures, not violence, but that doesn’t mean his ending fails to carry an emotional wallop. It’s a doozy, and shows us that life can be a complex whirl of dueling identities.

The absorbing rags-to-riches-to-rags story — a must for any classic film fan — is told in The Most Beautiful Boy in the World, directed by Kristina Lindström and Kristian Petri.

All this is dramatized expertly and with a lightness of touch in Simon Beaufoy’s screenplay and in the direction of Jonathan Dayton and Valerie Faris, the team behind “Little Miss Sunshine.”

If you widen your eyes and turn off your brain, it all adds up to cracking good fun.

Then there's the acting, particularly that of Sam Shepard, as an old ex-con without much in the way of limits.

A crime drama in a special class.

Lacks what could kindly be called coherence.

The director has concocted a tragedy that actually feels tragic.

Foxx's complex performance and the filmmaker's willingness to look at the dark side place Ray safely out of the realm of typical Hollywood hagiography.

Pigossi, star of the Brazilian Netflix series “Invisible City,” neatly avoids wallowing in Lourenço’s misery and instead finds a humanity one can root for. It’s a powerfully emotional performance that lifts all boats in this picturesque drama.

Art Spiegelman: Disaster Is My Muse, the latest installment of the venerable PBS “American Masters” series, does a thorough job of laying out and appreciating all of the cartoonist’s significant, consistently subversive works, as well as the psychological factors that informed them.

Bratton has made a film that isn’t necessarily anti-military — he is no doubt proud of his service — but pro-humanity. In a sense, Ellis is going through his own personal boot camp. Perhaps the film should have been called “The Introspection.”

The film is thorough and entertaining. It's enthusiastic about his contributions, but it's no hagiography, and it serves as both a celebration and a cautionary tale.

Has some hilarious moments and still succeeds in dramatic terms.

The jokes in What’s Up, Doc? will scratch a nostalgic itch, but what’s most refreshing about the film is that it shows a lighthearted side of San Francisco, without any superhero spectacle, looming natural disaster or hard-boiled noir themes. It’s a sunny and silly side of the city that rarely gets captured on film anymore, a view of San Francisco that’s worth revisiting.

While recognizably Ceylan's work, is more of a genre piece - a noirish suspense film - and less successful.

Continuing to explore themes of looking past stereotypes to find our shared, ahem, humanity, Zootopia 2 ventures into new territory without losing its emotional footing. It shows us how trust and cooperation often hinge on small, brave choices made over and over again.

A venemous Valentine to Hollywood sugarcoated with laughs.

A masterpiece.

A love story that gets the single male culture down so honestly and unapologetically that it can't help but push the boundaries of political correctness.

In This Corner of the World is 129 minutes, an eternity for an animated film, especially one so wispy in look and so sparing in plot.