It’s wry, vivid and moving in unexpected ways.

If you come to this film looking for a brisk overview of his achievements in couture, you might find High & Low more than serviceable. . . But if you’re expecting the definitive closing leg of the redemption tour, it’s unlikely you’ll find this a persuasive argument for separating the art from the a-hole.

Gasoline Rainbow pays homage to all the road movies that ever were but is still its own quirky thing, uniquely of its time.

Dear Jassi has the feel of a timeless folktale, made all the more unbearably sad because of its basis in fact.

While Pine is undeniably a charismatic actor, that likability can only generate so much audience good will in a production overstuffed with cartoonish caricatures lacking any sort of deeper connective tissue.

Despite Woman of the Hour’s sometimes shaky execution, its story is undeniably powerful.

Optimism is indeed at the heart of The Burial, a film that genuinely believes in the ability of the legal system to fight injustice.

Despite its heavy-duty subject matter, the film co-directed by Capobianco and Pierre-Luc Granjon is filled with welcome humor of both the visual and verbal varieties.

Despite all that loopy energy, Dicks: The Musical still can’t help but remain an inescapably one-note proposition, albeit a subversively melodic one.

The chemistry between Awkwafina and Oh proves to be more layered and touching with each leg of their characters’ zany mission.

Pain Hustlers is strongest when it focuses on Liza and maps her complicated web of desire and integrity.

In some ways, it’s one of Hopkins’ best performances from the last few years, beautifully underplayed, eschewing mannerisms or silly accents. It’s just a shame the film itself, directed by James Hawes, with a script by Lucinda Coxon and Nick Drake, is a bit worthy and diagrammatic.

The convoluted storyline is too clever by far, and might have proved entertaining if the film had been intended as an absurdist black comedy. Unfortunately, Keaton goes in a more neo-noir direction, with the generally grim tone only accentuating the narrative absurdities.

Over the span of his 120-plus film career, Nicolas Cage has been a lot of things — but he may have never been as flat-out hilarious as he is in Dream Scenario.

Kuras’ film is competent, polished and awards-ready. And while that all makes for a fine viewing experience, the movie also feels at odds with its subject — a restless woman whose passion and hurt drove her to action.

Cornwell died in 2020 and it’s a treasure to have this last opportunity to glimpse into the mind of a master raconteur, to hear his erudite explanations for his thematic fascinations and to watch him tiptoe around which personal tales he’s comfortable rehashing and which are better left in forms previously written.

The film works best when Waititi gets out of his own way and lets the characters speak for themselves instead of self-consciously extinguishing any warmth with jokes.

The movie contains no non-diegetic music and even limits major camera movement to a relatively small handful of scenes. Nothing distracts from the tender wisdom of its unimpeachably unsentimental gaze and the vividness of its very specific New England milieu.

American Fiction is smart and, thanks to its fine cast, has genuine heart.

While the landscapes, especially in the parched Sahara section of the story, are dazzling, Carnera’s camera always keeps the focus on the humans, sometimes specks seen from great distances moving through the sand and sometimes studied in close-ups that fill the widescreen canvas.

While hope is a quality not readily associated with the Mexican auteur’s work, it keeps surfacing here to extend a lifeline, even as we wait for the other shoe to drop. In that regard, Franco’s latest represents a slight departure, without surrendering the director’s signature austerity and intensity. He’s helped considerably by Jessica Chastain and Peter Sarsgaard, two riveting leads who hold nothing back.

Ly and Gederlini weave in keen analysis about political manipulation, structural violence and community organizing — a perceptiveness that makes Les Indésirables resonate despite its flaws.

The new film is much pokier in its pacing, with duller characters. Despite some highlights, including Branagh in top form as an even more somber than usual Poirot, the film is watchable but it is also something lethal to a mystery: uninvolving.

It is a tribute to Bening’s performance that she keeps us mesmerized by Nyad even at her most stubbornly pigheaded.

There’s no doubt, from the way Reptile creeps in the first half, that Singer is a skilled director. But there’s something to be said for restraint, which the helmer, who wrote his screenplay with Benjamin Brewer and the film’s star Benicio Del Toro, doesn’t exercise enough of here. In an effort to prove its cleverness, Reptile clanks, rattles and stumbles in its second half.

It’s full of flashy technique and ostentatious stylistic flourishes but has almost nothing of note to say about the supposed burdens of privilege.

If cinema is an empathy machine, to paraphrase the late Roger Ebert, then Agnieszka Holland’s new film is one precision-tooled specimen.

The result is more admirable than captivating, losing its way in old school hijinks (wacky professors, evil spies, a femme fatale) that grow outlandishly phantasmagorical as the plot thickens.