If Am I OK?‘s tone occasionally tilts too far toward comedy (including in an oddly staged climactic confrontation) its laughs land far more often than not, and bring us closer to the characters by inviting us to laugh with them.

The queasy mix of realism and wish-fulfillment will set many viewers’ heads spinning, or at least shaking with disappointment, in this well-intentioned but unpromising debut.

An airy, lazy, though rather likable overseas rom-com served with a dose of melancholia and several large portions of cinematic nostalgia.

Intimate in every sense, Good Luck to You, Leo Grande represents an affirming, immensely likable British comedy-drama.

Stearns’ third feature (following Faults and The Art of Self-Defense) is his least satisfying so far; as visually drab as its predecessors, it has more difficulty mining its off-kilter aesthetic for nervous laughter and conceptual provocation.

We know the achievements and victories of the era Nagy depicts, and yet, because she and her fine cast bring the story to such vivid, immediate life, the final moments of Call Jane are powerful with unanticipated joy.

At the end of Living, I felt not like I’d seen an old favorite in a new light, but like I might want to go back and watch Ikiru again. There are worse outcomes for a remake than reviving affection for the original, or retelling an old story for a new audience that may not have heard it before. There are better ones, too.

None of it adds up to a coherent thesis on love or sex, but it doesn’t really need to. And there’s something thrilling about Dunham’s refusal to give her film a clear social intent. Much like Sarah Jo’s sexual dalliances, Sharp Stick is ultimately about the excitement of exploration.

Building on the strengths of his justly celebrated debut, maintaining its distinctive point-of-view while broadening the scope of its sympathy, Cooper Raiff‘s Cha Cha Real Smooth is a more mainstream film than 2020’s Shithouse without feeling the least bit generic.

Not only does it offer a damning lesson about how the United States abandons its veterans, but it tries, with honesty and feeling, to honor a man who just wanted to survive.

Regarded as a whole, Fresh is a success — a taste of its creative talents’ abilities that leave the viewer hungry for more.

Accompanied by a dreamy soundtrack and philosophically flowery narration by Miranda July, it’s a doomed love story on every level, a gorgeous collage of a film in which romance, scientific inquiry and death do a 93-minute dance.

[A] bitterly funny, clear-eyed debut.

If the film doesn’t exactly transcend its familiarity (the elegiac tone, the sun-baked, wind-swept scenery, the wistful acoustic guitar score), it succeeds, often with understated magnificence, in finding ways to sidestep it — to make you not mind in the slightest.

Emergency mostly stays close to the surface of the issues it presents, which results in a darkly funny but frustrating viewing experience.

A film that doesn’t quite know whether it wants to educate its audience or give it a thrill ride. It proves more interesting for the former elements than the latter, but it nonetheless delivers plenty of compelling moments along the way.

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.

With its indie verve, raucous female gaze, comedic throughline and references to Indian cinema traditions, Definition Please sets out to accomplish a lot in terms of style and substance.

Sure, there’s some fun in all that meta-playfulness. But there’s also a facetiousness that wears thin and intrudes on the killing spree, making me often wish I was watching any one of the superior movies being referenced.

Transformania remains sufficiently goofy-sweet to please its target demo; those who find the humor toothless should at least appreciate the distinctive animation, which can be as energetically wacky as classic Looney Tunes.

It’s all quite watchable and not without suspense, but the characters reveal too little emotional depth or complexity to make us care much about either their losses or their hard-fought victories.

Nothing in The Forever Prisoner feels all that revelatory, but the thing that’s essential in the doc is the reminder that for all of the story’s familiarity, it reflects a situation that has been barely ameliorated over more than a decade.

At only 80 minutes, Beanie Mania offers only limited depth and it’s hard to imagine any viewer not being left with serious questions throughout, but as a superficial, hastily glossed nostalgic oddity, it’s a tidy way to wrap your 2021 viewing.

Despite its subject matter, Playground is not a call to action masked as a film. It’s a gripping work of observation more concerned with identifying patterns, teasing out motivations and laying bare the reality of how we come to relate to one another.

It’s ultimately a mixed bag, with the final moments acquiring an emotional power that should be felt sooner.

Milkwater is a modest film that acquires pleasing depth as it progresses.

If you loved The Matrix and hated the sequels (or simply found them unsatisfying), go see this one. Have a blast. (But wear a mask.)

Those willing to embrace this entry’s greater thematic and stylistic ambitions will find much to savor, including the stirring lead performance by Ralph Fiennes. The actor not only manages to give a fully committed dramatic portrayal that doesn’t give a hint of the material’s underlying silliness, but also demonstrates that he could have been a terrific James Bond if given the chance.