The screenplay to The World Is Yours is sporadically hilarious though rarely subtle, relying a little too heavily on boorish stereotypes and slapstick violence for its broad humor.

Barkan proves a highly engaging man, impassioned but funnier than a terminally ill man should be. Intimate scenes with his young family are essential to the appeal of a film whose big issues remain as pressing now as they were during filming in 2018.

Nothing about the plot is novel, but the film easily maintains a low simmer that picks up in the final act, as Miller has to fight to keep his sinking ship staffed.

With Somersault, filmmaker Cate Shortland has expertly served up a vivid and touching tale, one told many times before, but in this well-realized mounting, one that sparkles with fresh awareness.

Stylized, pure cinematic retelling of this ancient tale of misogyny will enchant some and bore others.

Marks Disney's rediscovery of a strong narrative loaded with vibrant characters and mind-bending, hilarious situations.

A highly enjoyable look at a career spent duping the art world.

Among other things, the film is an extremely dense fusion of elements that make up our sense of time and memories, including collages of hundreds of old photos, grainy super 8 footage, notebooks, songs and music, sound bites and newspaper articles.

The true draw in Jane Austen Wrecked My Life is Agathe, a compelling protagonist whose passion for literature and love keeps us sufficiently engaged.

This musical documentary likely will find its major audience in Germany, where the immigrant-minority Turk citizenry will take to its array of sounds, smears and social commentary as cultural nourishment.

Some of its mockery and many of its nerd-friendly celebrity talking heads — Seth Green! Kevin Smith! Paul Scheer! — are predictable, but when it isn’t poking fun at moments of iconic trash, it offers an insightful exploration of the production and context of the special.

It’s a far cry from dreary or depressing, but it also doesn’t offer any easy way to enter its emotional territory. Viewers who have gone through the experience of taking care of an ailing parent or relative may identify more fully with the slow-moving story.

Much as I admired and was at times stirred by The World to Come, I'm convinced it would be a significantly stronger movie with 75 percent of the narration stripped away.

Achieves a rare depth and intimacy in its portrait of dreams fulfilled and shattered.

The result is a finely observed study of modern manners and mores on a micro-budget that’s nevertheless rich in feeling, especially the cringeiness one might experience from watching other people bicker or hearing people have sex through thin walls.

A conventionally mounted tribute to a genial, decidedly British form of eccentricity.

Ai Weiwei: The Fake Case is a professional, straightforward example of the behind-the-headlines sub-genre, executed in slick high-toned digital video and eschewing the soundtrack music so ubiquitous in documentaries nowadays.

The rich vein of unsettling darkness and psychological unease that ripples like a treacherous underground stream beneath the absurdist humor of Yorgos Lanthimos' work becomes a brooding requiem of domestic horror in his masterfully realized fifth feature.

The film yanks the viewer to attention with its keen sensitivity to the rough winter conditions and limited prospects faced by the locals. It also features one of Jeremy Renner’s best recent performances, but does fall into some traps when it ventures into Tarantino and Peckinpah territory.

For most audiences, Air will be worth seeing just for the starry cast — particularly the reunion between Damon and Affleck. Their scenes possess a kinetic and intimate dynamism that the rest of the film approaches but doesn’t always match.

With its vivid footage, sometimes captured from breathlessly intimate proximity, you might be able to believe, just for a moment, that you could really reach right through the screen and touch her.

The film feels contained — its design, visual effects and cinematography all in the right balance and proportion. Spider-Man is the hero, and not some element in the filmmaking process.

An epic of choreographed mayhem that expands the Wickiverse in mostly pleasing ways, it is destined to satisfy fans of this surprise-hit franchise: If its ludicrous aspects bug you, what the hell are you doing here?

The film offers fascinating glimpses of a hardworking but unhurried way of life, though it doesn't have the powerful dramatic hook of "The Story of the Weeping Camel."

While it has visual energy to spare, the movie is more relaxed and less flamboyantly playful than most of Honore’s other films, unfolding with naturalistic grace — precise but unfussy framing, fluid camera movements — and fewer New Wave-y winks and nods.

A key joy of Karl Marx City is its strong, arty aesthetic.

Brooks' fast-paced direction is a masterpiece of comedy detail, filled with delightful and perfectly timed sight gags.

It is a rare director who dares to embrace the slow, meditative rhythms of a classic novel without feeling the need to modernize or accelerate it, but Davies uses the measured pace to unfold his poetic vision of the Scottish peasantry and their attachment to the land.