Fourteen generates important insights on time, mental illness, and relationships, proving, through a tableau of exquisitely staged moments, that friendships deepen over time no matter the circumstance.

Bellingcat: Truth in a Post-Truth World is a slick documentary that presents a compelling argument about the problems presented with institutionalized journalism, yet it somewhat fails to present the full picture. Nevertheless, it’s a documentary worth seeking out, suggesting the possibility of amateur investigators with the possibility to change the course of global events.

An exciting, splattery, funny genre movie that somehow never once feels disposable.

The Plague is a movie-movie, rather than a genuinely searching or affecting film about that most awkward age when fitting in with a group can seem like the most important thing in the world.

The people in Sang-soo’s latest are given the time to exist within the frame without having to respond to the sometimes constricting expectations of fiction, the director’s observational style a perfect match to the film’s titular purpose: to observe a not-so-regular day in the lives of regular people.

By bringing to the screen a conversation painfully reserved to private spaces built upon the frail structures of shame and guilt without ever losing the type of loving lightness one can only get through unwavering support, Molly Manning-Walker confidently steps out of the gate right foot forward.

It’s an offbeat, fun, and frequently very funny film, lifted out of disposability by some wonderfully rich production design, music cuts and photography, and by the cherishable performances of the leads.

While the film is hysterical, its real strength lies in the way it is able to deal with an issue like sexism in the industry and work it out in a funny, honest and very real way.

Selma is vital correspondence, filmmaking lived on the streets where brutal facts were ignored then reported, and now snatched back from history to sustain a spirit few films can or will possess. It is stunning humanistic cinema on a mainstream scale... It has inventiveness, urgency, humor, and most of all emotion that draws effortless parallels rather than leaving its lesson up on the screen.

Taylor-Joy also has to convey a tremendous amount of character arc in what is often a non-verbal performance (Miller recently revealed she only has 30 lines in the movie). No surprise, she absolutely kills it. But, miraculously, for a movie that doesn’t seem to leave the door open for further adventures, she’ll teasingly leave you wanting more.

The film is all at once a genuine, crowd-pleasing barnstormer and an uncomfortably identifiable personal theme park 4D experience.

Charming, witty, beautifully shot and inexplicably captivating.

Pay a thought to kids growing up during wartime. Gornostai captures a snapshot of their everyday heroism on film, embalming it for future generations.

Clinical in nature and matter-of-fact (but still affecting), The Assistant is essentially a procedural about being a personal assistant to a powerful Hollywood man and all that entails.

In truth, the deeply absorbing and thematically rich ‘Apes’ sequel is more akin to a drama than an action film, but it's one that still satisfies the desires and demands of big, blockbuster filmmaking.

The subjects of Kokomo City are quote machines, but their strength is that they make you listen to what they are actually saying and digest their opinions. Oh, no, they are not just here to entertain you. Points will be made.

What elevates Hustlers from an entertaining con job flick to something noteworthy is that the racket isn’t inherent to the story Scafaria wants to tell. Many filmmakers will say their film tackles female empowerment, but few do the legwork to make an integral and authentic part of the story.

Denis and Binoche have made a film that’s both smart and sexy, imbuing new excitement and wonder into the emotional connections that define us all.

Deeply resonant and soulful, Life Of Pi, is a harrowing journey of survival, self-discovery and connection that both inspires and awes in equal measure.

There’s nothing lost in the translation of Fences, but its high fidelity means there’s little, if any, inspiration to be found within.

Soderbergh’s direction is, per usual, tight and efficient (as is his editing – it runs a lean, mean 89 minutes).

Filled with plenty of ideas and a strong sense of identity, The Witness can still be somewhat unfocused, unfolding in a multitude of directions, but failing to provide a complete portrait about Kitty and her life, which is a truly fascinating one.

At its heart, Twinless is a movie about loneliness. About finding someone to fill that emptiness, soothing life’s inherent anxiety. Whether a lover or a friend, they are often hard to find.

Like any good page-turner, Conclave is full of twists. Some you’ll see coming, and others will genuinely shock you. But this is smart, fiery melodrama.

Burshtein has devoted most of the last 20 years teaching and making film in that world, but here makes her international feature debut with a curious comedy-drama that has its strengths, but ultimately proves somewhat disappointing.

As visceral and invigorating as classics like “Deep Red” or “The Bird with the Crystal Plumage” might be, they aren’t a patch on 1977’s Suspiria.

There are not “funny” moments or “dramatic” moments for their characters; there are simply “human” moments. Whether people react to them with laughter, pity or some combination of them both may say more about themselves than the film.

Mahdavian’s nonfiction proposes something distinct: a subtle portrayal of non-sensational humanity.