Anchored by two outstanding performances from Anthony Hopkins and Jonathan Pryce, the film is a triumph of writing as well as unostentatious filmmaking.

Featuring an excellent performance by veteran British actress Sheila Hancock (The Boy in the Striped Pajamas), who is clearly up to both the challenging emotional and physical demands of the title role, Edie earns points for good intentions but never quite succeeds in managing to scale its thematic summit.

This is a large-canvas treatment both epic and intimate in scale.

Though Muschietti occasionally finds lovely filmic ways to transition from one to the next, the stories don't get to resonate with each other in a meaningful or emotional way — as they might in a series of well crafted hour-long episodes.

What The Perfect Candidate lacks in sophistication it makes up for in intuition, entwining the longtime taboos of music (especially the female voice) and women's active participation in political life in a positive storyline.

Jenkin's heavily stylized debut is a disorienting experience at first, but it ultimately creates a boldly Expressionistic mood of uncanny beauty and mesmerizing otherness.

Schimberg confidently blurs the lines between fantasy and reality (more than once a scene that appears to be real is actually fiction and vice versa), though never to the point that it detracts from the people onscreen.

Well-intentioned but heavy-handed ... To be fair, while Parker's film lacks finesse and the writing too readily slides into bullet-point didacticism and self-righteous speechifying, it does go to some lengths to give both sides a voice, even if it inevitably stacks the deck.

The heart of this complex material for too long remains elusive to Assayas, and he locates it too late to give the choppy drama cohesion. That's not to say Wasp Network is dull or uninvolving.

Despite the filmmaker's obvious smarts and oft-proven skills, there's a kind of off-putting effrontery about Soderbergh's approach here that rather sours the whole experience. The tone is brittle, the attitude arch, the performances by a savvy and diverse cast uneven.

The Safdies and the cast go deep enough here to make the film a genuinely human one.

This is Phoenix's film, and he inhabits it with an insanity by turns pitiful and fearsome in an out-there performance that's no laughing matter. Not to discredit the imaginative vision of the writer-director, his co-scripter and invaluable tech and design teams, but Phoenix is the prime force that makes Joker such a distinctively edgy entry in the Hollywood comics industrial complex.

Judy is three-quarters of a good movie that would have been even better if it trusted the urgency of the last act of Garland’s life — and the brilliance of Zellweger’s performance.

Technically, it wouldn't be wrong to call Waves a "teen drama," but that generic label doesn't begin to convey the emotional scope of this tender, bruising, exuberant film.

Merely a watchable rehashing of his preferential themes and plot points, set in a present-day Manhattan so nostalgic and unreal it might as well be a period piece.

The film’s lively dynamics owe much to the bristly nature of nearly every relationship and interaction in the film.

The luminous Kristen Stewart keeps you glued throughout, giving a coolly compelling performance that becomes steadily more poignant as the subject unravels.

One couldn’t wish for a more painstakingly researched or beautifully rendered account of the infamous Dreyfus affair than Roman Polanski’s An Officer and a Spy (J’Accuse).... Yet the result is oddly lacking in heart and soul, almost as though a mask of military discipline held it in check.

The gritty pic's aesthetic scratches an itch for lovers of '70s/'80s urban grime. But atmosphere and attitude overwhelm story here, and trotting out old tropes like amnesia doesn't help.

By leaning into the character-driven nature of the story and a remarkably yoked ensemble cast, Before You Know It becomes something much more than a “chick flick”: It's a nuanced treatment of how the dynamics that bond a family together can also tear it apart.

Itsy Bitsy works well enough on its own terms, providing some genuine jolts and benefiting from the excellent performances.

Writer-director Gray's handsomely crafted planet-hopping drama is by turns vividly eventful and deliberate in its uneventfulness, and it feels caught, somewhat awkwardly, between stark simplicity and violent leaps into hyperdrive.

The unfortunate result is that you wind up thinking how much more you'd prefer to be rereading that contemporary classic than watching this tedious exercise.

Performances are generally competent, but nobody in the cast has the kind of presence needed to overcome Ranarivelo's by-the-numbers dialogue.

Marriage Story puts you through the wringer, but leaves you exhilarated at having witnessed a filmmaker and his actors surpass themselves.

This is a documentary that will best be appreciated not by fans of The Little Prince but rather by linguists and ethnographers.

To truly be effective, Angel of Mine would either have to be far better or far worse than it actually is.

Deneuve's slyly self-satirizing performance ... ensures that The Truth remains a pleasurable entertainment.