The mashup of genres may feel a bit tonally rough, but it ultimately works, not least because of its unifying factor: Sweeney, who imbues her no-holds-barred portrayal of Martin with both sweetness and rage, with brio and real vulnerability.

What does it say about a nearly two-and-a-half hour drama when the 80-year-old footage from inside Nazi concentration camps that was shown inside the real courtroom is the most compelling and memorable sequence?

Trachtenberg who previously directed and co-wrote the story of “Prey” in 2022 and the animated “Predator: Killer of Killers” earlier this year, is confident in this world and it shows. He’s created a story about the betrayal of family and the joy of found family — and slicing horrific, nightmare creatures in half with a laser sword. But it’s both parts of Fanning that steal the show.

It’s a tall task to follow up a smash like “The Worst Person in the World,” but “Sentimental Value” rises to the occasion: Mature, sharp, bittersweet and maybe even a little hopeful.

Nouvelle Vague, with a young Godard making things up off the cuff and on the fly, is a reminder how less can be so, so much more. And how it’s nice, as a young filmmaker with big ambitions, to have some company.

Ultimately, it’s an effectively minimalistic thriller that leaves much room for interpretation and debate, and a good option for anyone looking for something creepy to watch this Halloween without the gore.

There are some sweet kisses (otherwise, it’s very chaste) and some nice declarations of motherly devotion (credit to Williams for doing her best) but the cheese factor is regretfully high.

Though I’ve been apprehensive about the flamboyant severity of Lanthimos’ movies, I found “Bugonia,” a chamber-piece gut punch, hard to shake.

In many ways, this movie is, then, a mirror of “Nebraska” itself — unexpected, complicated and very American gothic.

It’s a subtle, affecting portrait of relapse, punctured by a wildly cruel embarrassment that is brilliantly staged and executed.

Good Fortune has its heart in the right place, but it lacks a spark and internal engine that might have made it more entertaining, and ultimately impactful.

Usually a cinematic heist is spectacular — in its success or its failure. Reichardt has removed all spectacle, telling instead a moody tale of a man who makes a dumb mistake and slowly loses everything, like a tumble down a mountain in slow motion.

Watch it and it will linger in your mind. It’s a movie for Iranians, of course, but it’s valuable for any society hoping to one day mend a divided country.

One of the more sheerly delightful movies of the year.

It might not be masterpiece material, but it has a soul and is an undeniably beautiful, worthwhile addition to the canon.

The film succeeds in doing what it aimed for: Presenting a humane portrait of a guy who will be serving most of his life behind bars, in crowd-pleasing packaging. But what, ultimately, is the point of using the charming parts and ignoring the unsavory ones? For a filmmaker who has never shied away from the rough edges of reality, “Roofman” feels a bit dishonest.

Its plot turns can be rash or implausible, and the movie increasingly feels like ideas and set pieces strung tenuously together.

Molina’s main stage might be a dull, claustrophobic prison cell, but Tonatiuh’s performance is vibrant technicolor.

The film is a wonderful collaboration between [Byrne] and writer-director Bronstein, who drew inspiration from her own experiences with motherhood. It also has given Byrne, an actor of effortless appeal in lighter films, a chance to display versatility and grit in surely the toughest dramatic role of her career.

What carries it through, above all, is the great command of Bigelow (“Zero Dark Thirty,” “Detroit” ), who knows perhaps better than any working filmmaker how to turn bracing real-life, or near-real-life crises into heart-pounding thrillers.

How do you go back and yet forward at the same time? The filmmakers have rather cleverly done that by incorporating plot points from the first two movies and building out with new characters and blurring the divide between flesh and digital worlds.

Despite its grainy, VHS aesthetics, “The Smashing Machine” is a surprisingly conventional and oddly untroubled movie, albeit one that gives Johnson an indie-film platform for one of his finest performances.

The first and most important thing to say about “Anemone,” a bleak, somber, absorbing but also sometimes frustratingly opaque collaboration with his director son Ronan, is that it’s brought Day-Lewis back.

Filmmaker Raoul Peck uses George Orwell’s writings to weave together a biographical portrait of the author and a dispiriting picture of power and truth in the modern world in “Orwell: 2+2=5.”

All of You is a sort of second stab at this story, which Goldstein and Bridges (“Black Mirror”) first explored in the canceled-too-soon AMC anthology series “Soulmates.” Fittingly for a story about second chances, this time it sticks.

Squibb and Kellyman, both terrific, are the real reasons to seek out “Eleanor the Great.” The film may trip over its own contrivances but their performances will leave you moved.

If the issue of some thrillers is that they have nothing to say, the problem with “Him” is that it has exactly one thing to say, which it does again and again and again. “Him” does have some style, though.

The Lost Bus is about a few ordinary people in an impossible situation just trying to survive. While it’s not hard to wring emotion out of an audience watching kids in peril, it also, in some ways, gets right to the very heart of the matter.