Those who have seen "One More Time With Feeling" will undoubtedly have a deeper appreciation for this follow-up companion piece, but — even for the ones unfamiliar with either Dominik’s or Cave’s work— This Much I Know To Be True still proves powerful even if consumed as a concert film alone.

Arrival, the shimmering apex of Villeneuve’s run of form that started back in 2010 with “Incendies,” calmly, unfussily and with superb craft, thinks its way out of the black hole that tends to open up when ideas like time travel, alien contact and the next phase of human evolution are bandied about.

This is avant-garde autobiographical filmmaking at its finest, and the results are stunningly beautiful, and achingly emotional within a lyrical and dreamlike aesthetic.

Weapons underscores how in command Creeger is of his entire movie, the mise-en-scène, the craft, tone, mood and sweaty, ominous, dread-inducing atmosphere. Its final act is batshit crazy and climaxes in a jaw-dropping wave of exhilarating, terrifying feeding frenzy of satisfying comeuppance. Weapons will leave you thrilled, aghast, horrified and wowed.

In Everything Everywhere All At Once, a dizzying and aching bit of popcorn entertainment, in fact, Yeoh has never been better.

Dhont, who displayed an impressive artistic vision with his feature and slightly problematic debut “Girl,” has pulled off something miraculous with his sophomore effort.

Gay’s picture proves once again that one can construct a comedy out of such material, as long as one respects the subject matter and refrains from being gimmicky in order to feel edgy and cool.

While not the sweeping historical exploration of “Kingdom of Silence,” Fogel’s film vigorously interrogates the reasons and methods behind Khashoggi’s murder, creating a humane portrait of a fiercely political journalist.

It’s as successful as it is ambitious.

It avoids the trap of simply being a celebrity vehicle about celebrity, by displaying a surprising heart beneath its very funny surface.

The film’s very long takes feel extremely rich with meaning and texture even as they often show a whole lot of nothing.

While tears will be jerked, heartstrings plucked and throats enlumpened, it has to go down as a disappointment in the director’s catalogue.

Thankfully, Coco, Pixar’s latest original work and one of their very best, truly does transport you. The results are magical and feel somewhat rebellious given the current political climate, which makes the film feel even more special.

Bridge Of Spies is one-third courtroom drama and two-thirds Cold War thriller, and while an engaging watch thanks to fine actors and terrific filmmaking, it’s not without its issues.

The film’s title isn’t just referring to the past, but what everyone involved witnesses in their communities everyday. By letting this fester and not confronting it dead on are we not saying we’re fine with being “barbarians’? It’s a credible question the filmmaker leaves you to ponder in private.

Morton’s paintings are beautifully stirring pieces. Gracefully composed with a true sense of the artist’s history behind them. Rosa Ruth Boesten’s film is an extension of this. A fitting and compassionate feature that reignites fierce feelings about the power of artistic expression.

With Foxcatcher, [Miller] has outdone himself, turning his uniquely meticulous eye to a tiny story in a totally rarefied, specific environment and through whatever alchemy he has perfected, created something so universal and resonant that it feels epic, sprawling, almost ancient in its mythic overtones. Foxcatcher is an enormous film.

Twinsters is an enjoyable ride, made with vigorous love and creativity, which is more than enough reason to recommend it. Especially to siblings.

For all the film’s politics, Arabian Nights can also be whimsical, swooningly romantic, inspiring, fascinating, or deeply sad.

Awash in the chaos is a real sense of life continuing as it’s always been, even amidst the bodies at which Gutnik isn’t afraid to point the camera or the sad reveal of how the Ukranian tongue has been suppressed.

Pollards’ MLK/FBI is more than an eye-opening look at an icon, and the evil forces working to tear him apart, it’s a critical chapter that should be imprinted inside every white American’s heart. Especially right now.

Jackie is what happens when two distinct sensibilities — the Goliath of the Hollywood prestige pic and the David of Pablo Larraín’s playful, idiosyncratic intelligence — throw down.

Although the film is rooted in arthouse film territory, and is particularly inspired by the films of David Cronenberg and David Lynch, Raw turns out to be its own wild animal.

"Pigeon" is a near-perfect cap to a near-perfect trilogy, a cavalcade of oddness, humor, banality and even horror.

Michelle Ford’s Test Pattern, with patient specificity, probes the institutional injustices suffered by black women to potent, provoking effect.

The power of Mungiu’s work is his writing. Like much of Eastern European cinema of the past decade, he’s crafted a morality tale that should prompt a viewer to take a look at themselves in the mirror wherever they may live. And if it ends without any hint of resolution? With barely a glimmer of hope? So be it.

Big, wonderfully oddball, sometimes confounding and beautiful, Inherent Vice supplies good dosages of stoner giggles. But its doobage is potent and reflects some heavy ideas you’ll need to unpack and meditate on for a long while.

Director Tim Wardle’s film is full of surprises, the least of which is its own dramatic shift in tone from wildly entertaining to absolutely disturbing.