The film itself might not wrap up in any sort of tidy or satisfying way, but nothing leading up to the conclusion would lead you to expect something so basic.

I’m Thinking of Ending Things nearly sustains something beautiful and sad that blends consciousness and time.

The most memorable images in Still are those of a present-day Fox in frame, speaking straight into the camera. The effects of Parkinson’s are visible but so is the jaunty, self-deprecating actor we’ve always known.

It’s an absorbing ride, and Schimberg works with confidence and brio.

Like its subject, “Man on the Run” inevitably pales next to films of the Beatles heyday. But it’s a meaningful companion piece about the end of an era and the start of a long and winding road.

Ly’s film excels in its lively verisimilitude, its terrific cast and its intensity. Les Miserables is a powder keg, always at risk of detonating.

The whimsical, unpredictable artistry of “Kajillionaire” turns out to be no con, at all.

The film handles Maverick’s personal stuff — wooing the barmaid, repairing his relationship with Goose’s kid — while also fulfilling its promise as an action movie. There are jets pulling 10Gs, the metal sound of cockpit sticks pulled in gear, epic dogfights and the whine of machinery balking at the demands put on it. The action even takes a few unexpected and thrilling turns.

The gripping and hugely enjoyable BlackBerry is about the famous — and later infamous — Research in Motion gadget that helped trigger the global smartphone era as we know it, before sliding into obsolescence.

The cast responds with excellent work. Brooke Adams expresses all the yearning and futility of a hard-pressed mother, and Ione Skye and Fairuza Balk shine as the daughters. The males are dimensional, too, and Brolin's brief performance suggests a future as a character actor. [10 Aug 1982]

In the bleak, everyday struggles the Dardennes dramatize, they are always, thank god, keenly on the lookout for grace.

In this forensic portrait of war, the only way to not get what’s happening on the ground is to be too far from it. François Truffaut famously said there’s no such thing as an anti-war film because movies inherently glamorize war. “Warfare,” though, is intent on challenging that old adage.

Although it is a historical document, The War Room plays out as a "buddy" film with two men - James Carville and George Stephanopoulos - emerging as figures charismatic enough to carry this feature-length movie...What we see is fascinating, funny and revelatory. [18 Nov 1993]

Creating something that feels nostalgic or captures a moment in time is no easy task, but the film pulls it off, largely thanks to the stellar performances.

After Yang may not reach the heights it’s seeking, but it’s easy to respect it for trying to tackle profound questions and reach a register of high-minded reflection.

Gloria Bell isn’t a dour midlife character study but a warmly affectionate one, in large part due to Moore’s radiant, lived-in performance as a woman committed to self-renewal.

Thompson is truly better than ever and brings to life a complex and evolving person with humor, grace and a sharp edge. McCormack, meanwhile, is a star in the making. And together, the two are magnetic in this wonderfully adult film that is funny, sad, awkward, empowering and illuminating.

The fourth installment is more stylish, more elegant and more bonkers — kind of like Paris itself.

One cannot fault Roadrunner for not coming up with clear answers. There rarely are clear answers, anyway, and this film seems to want to be about a life, not a death. A fascinating life, parts of which will forever remain unknown.

High Flying Bird is a heady movie, full of political thought about sport, entertainment, race and power. Rather than float on production value, it sustains itself on the tension of ideas, exchanged rapid-fire in gleaming office towers.

Karam is adapting his own Tony-winning work here, a play inspired by the 2007-2008 financial crisis. In doing so he achieves something quite rare: He makes an intimate and devastating family drama even more intimate and devastating.

Toggling between Texas Hold ’Em and Iraq War nightmares makes for a head-spinning collision. But I think the incongruities of The Card Counter also give it its power. Schrader’s film is so self-evidently the impassioned work of a singularly feverish mind that its flaws add to its humanity.

You may know the outlines of the soccer legend’s life, but there’s no way you won’t learn something from Diego Maradona, Asif Kapadia’s absorbing and exhaustive new film.

[Petzold] turns “Miroirs,” a slender and sweet 86-minute puzzle, into one of the more lovely and profound little movies about how hearts can be mended by just opening a door.

Generous in humor, spirit and sentimentality, Anthony and Joe Russo's Endgame is a surprisingly full feast of blockbuster-making that, through some time-traveling magic, looks back nostalgically at Marvel's decade of world domination. This is the Marvel machine working at high gear, in full control of its myth-making powers and uncovering more emotion in its fictional cosmos than ever before.

The Ballad of Wallis Island is the kind movie that makes it all look so easy — filmmaking, performance, mood, chemistry. It’s not going to dominate any cultural conversations, and probably won’t go the awards route, but it’ll touch your soul if you let it.

The Sisters Brothers takes a bit of getting used to at the start, but the rewards are worth it.

One of the more sheerly delightful movies of the year.