This kind of vérité surrealism doesn’t come along very often, and the glorious oddness that Zurcher manages to infuse into even the most routinely domestic activities is really the gift the film keeps on giving.

Melding the anxiety of the unknown and the fear of who we truly are in our core, all that we try and compartmentalize emotionally as human beings, Gray crafts a movie that is deeply personal, thought-provoking, and thrilling.

whether because of its personal nature, its occasional ferocity, its unusually dark undercurrents, its audacious defiance of expectation and explanation or Kim Min-hee’s essential performance, On The Beach At Night Alone feels like it will be exceptional even for longtime diehard Hong fans.

Love & Mercy isn't a standard celebration nor a traditional music biopic. Instead, it's a survival story.

Harrowing, uncomfortable, and heartbreaking, Pervert Park is an important film with an urgent, compassionate message.

For a movie about government incompetence married to government malfeasance, Costa Brava, Lebanon is surprisingly funny.

It is indulgent in its length and relative plotlessness, though there’s no point at which the bravado of Arnold’s filmmaking, Lane’s riveting performance or Ryan’s stunning Polaroid-shaped lensing ever flag.

The new film most directly recalls “Enough Said,” Louis-Dreyfus and Holfocener’s collaboration of a decade ago, which also concerned the Louis-Dreyfus character hearing things she shouldn’t. This film doesn’t quite measure up to that one — Jeffrey Waldon’s cinematography is oddly murky, and Menzies can’t provide the strong counterpoint James Gandolfini did. But it’s nevertheless smart, warm, and very, very funny.

Stone and his crew get the audience hooked on the mystery of this charismatic crank, and then take their time before they answer some of the bigger questions.

The Tree of Life spanned eons to capture the entirety of existence, and while the filmmaker works on a tighter four-year canvas this time around, the feeling that the stakes are nothing less than the soul of all humanity has persisted. This is art of salvation.

The amiable and undemanding Meyerowitz evokes so many other media — television, short story, theater — that it’s a little unclear as to quite why it’s a film.

Set to a rock-and-roll soundtrack, with titles featuring the bright colors Iris adores, Maysles' documentary is energetic and vibrant. Iris is the cinematic equivalent of a party, with its titular character as its host.

Abrams makes big decisions and takes chances that command respect, especially in the very safe current tentpole film industry, but he doesn’t always quite sell them as he could. Still, as this new chapter props the franchise back up on sturdy legs, the Force seems to be in capable hands with a fresh forward direction.

“Making Waves” covers an impressive amount of ground in 90 minutes and is a perfect introduction to the subject for a student or casual fan.

Content to tell just one story despite a far more interesting one just under the surface, Maing and Story’s honesty and remove from the filmmaking process has produced an unvarnished, raw document that offers up a slice of history: warts and all.

Ultimately, Gibney's film is fascinating for the people in it. The filmmaking is nothing exceptional, but what is remarkable is the bravery shown by those who speak out in the film.

Overall a triumphantly idiosyncratic film with smarts and visceral impact in equal measure.

It’s saved from all-out depressiveness by Haigh’s compassion, which cradles the characters within their often desperate situations.

If Hong is often a filmmaker who can be accused of making the same movie over and over again, this latent muse brings a veritable freshness to his output by offering an emotional gravity that hadn’t significantly figured into his creative sphere.

This experience is one of rare, absolute immersion.

This is an auto-auto-auto-fiction that throws out the occasional fun, cinephiliac in-joke, and teases the odd insight into creative blockage and romantic unfulfillment. But mostly, it serves to prove the old adage that a self-deprecating awareness that your movie has nothing going on in it is no substitute for having something going on in your movie.

Gerwig amplifies this feeling of liberation through understanding one’s confinement to Messianic lengths by the end of “Barbie.” Yet her and Baumbach’s screenplay foregrounds countless other intimate choices, too. It’s here where characters can opt to see the complexities of their identity as both complementary and independent. This is existentialism for consideration and consumption alike.

This is an assured, confident feature-directing debut for Zagar who shows great promise in his ability to render a confident and brilliant work of art from difficult-to-adapt source material. His film is a complicated coming-of-age tale that not only brings refreshing insights but gives us beautifully rendered images that have the power to haunt you for days.

A seemingly straightforward drama that details a complex portrait of a nation, through the journey of a single, determined man.

Finders Keepers tries to find the humanity in the absurd, and while it surely has its share of moving moments, the conciliation of the sensational and profound is hard to reconcile.

In short, Babylon is bland and sadly, should be much better.

Unique and at times profound, it's a reminder of how much Kubrick left for us to appreciate in his work, and how the greatest films always leave something more to be discovered with each viewing.

While The Eternal Daughter manages to sell a truly spine-tingling atmosphere of ghosts, it feels closer to a thought and style experiment in the aftermath. But the film’s time-and-logic bending final reveal arrives as a gut punch nonetheless, with a restrained parting note both ethereal and lifelike.