What this twisty espionage thriller ... doesn’t have enough of is character depth or storytelling coherence.

It’s a sweet but oddly circumspect film, ruled by a friction between warring demands: the allure of wistful memories and the rigor of complex appraisal.

With a formidable cast, assured direction and skillful camerawork, Nostalgia proves to be a surprisingly absorbing film.

It’s a great movie both in scope and in what it’s trying to say about Iran through the story of one family’s countless hardships. As a filmmaker, Roustaee aims so high and wide that even if he misses his mark at times, he manages to find his own stirring voice.

This may be the Dardennes’ most emotionally engaging film in a while — a tragedy told with utter clarity, centered on protagonists entirely deserving of our sympathy, empathy, all the ‘pathies you’ve got.

It’s far from subtle filmmaking, but Holy Spider is equal parts gripping and disturbing, and not always for the squeamish.

There’s almost always something interesting about even Denis’ flawed films, but this troubled travelogue just feels a little off at every fumbled step.

Despite a shred of story that’s told episodically, EO, which clocks in at a concise 86 minutes, can be an engrossing experience.

As Finley, Hopkins displays his usual magnetism, even taking the opportunity to play one of his own musical compositions on piano.

If the writing too seldom measures up to the astonishing visual impact, the affinity the director feels for his showman subject is both contagious and exhausting. Luhrmann’s taste for poperatic spectacle is evident all the way, resulting in a movie that exults in moments of high melodrama as much as in theatrical artifice and vigorously entertaining performance.

It’s a familiar template, and Saleh’s direction can veer toward the heavy-handed in places, but it’s also an intriguingly damning portrait of the corruption currently hitting Egypt on all levels.

It’s a pleasurable enough watch — nicely acted and with a gentle rhythm tuned to the main characters’ searching paths as they drift in and out of each other’s lives over 30 years — though ultimately, it lacks weight.

Crafted with unforced humor, ravishing visuals and commanding maturity, Decision to Leave intoxicates with its potent brew of love, emotional manipulation — or is it? —and obsession.

Moonage Daydream is short on insight, and ends up feeling more enervating than enlightening.

The film offers up more mysteries than it solves. Still, riveting work from Viggo Mortensen and Léa Seydoux as performance artists whose canvas is internal organ mutations will draw the curious.

Corsage . . . although a late entry to the disaffected royalty subcategory, is arguably one of the most interesting so far, much closer to the ludic, imaginative queen of the genre, Sofia Coppola’s Marie Antoinette (2006).

Definitely hewing to the “If it ain’t broke, don’t fix it” philosophy regarding big-screen versions of long-running television shows, The Bob’s Burger Movie should well satisfy devotees.

There’s no doubt as to where all this is headed, especially to anyone familiar with Pride and Prejudice. But Ahn’s light-touch direction, the appealing cast and the frisky humor and stealth soulfulness of Kim Booster’s script keep it breezy and captivating as the predestined romantic partners butt heads or drop in and out of each other’s orbits when faced with various obstacles.

This is masterly understated filmmaking marked by a few stand-out sequences, particularly a one-shot town hall meeting that lasts for an entire reel and throws all the issues on the table before erupting into chaos.

There isn’t a predictable moment, and Cotillard (who last worked with Desplechin on Ismael’s Ghosts) and Poupaud (who played a far more even-keeled Vuillard in A Christmas Tale) inhabit their roles with bracing fearlessness.

Charlotte Wells’ sharp and tender Aftersun is the rare father-and-child drama that leaves you wondering who the dad will grow up to be.

In the quietly miraculous One Fine Morning (Un beau matin), writer-director Mia Hansen-Løve and her leading lady Léa Seydoux make the old feel new again.

As facile as Triangle of Sadness becomes, Östlund at least provides full-circle follow-through when beauty and sex once again become bartering assets and a late gag mocks the global obsession with branded luxury goods. But this is a glib movie, self-indulgent in its extended running time and far too amused with its easy digs at wealth and privilege.

While there’s a liberal sprinkling of humor, the mysteries it conjures are windy and academic, though not the kind of academic that stands up to scrutiny.

Overlong and overdramatic, the two-hour-plus biopic does feature some exquisite filmmaking, in scenes where the romanticism of Tchaikovsky’s music is met with flowing camera movements that capture the action in artfully staged tableaux.

An unvarnished family snapshot that traces the seeds from which the artist evolved and the tough lessons about life’s unfairness that helped shape his character, this is a refreshingly understated drama whose gentleness makes it all the more bittersweet.

Clever and giddily entertaining ... Hazanavicius is smart enough to apply an if-it-ain’t-broke-don’t-fix-it approach, keeping nearly everything intact except for the language and cast.

This hilariously meta reboot — excuse me, comeback — is everything the recent Space Jam sequel desperately attempted but failed to be. Premiering exclusively on Disney+, it’s the funniest movie of the year so far, either animated or live-action.