The film’s real revelation is that 14-year-old Alfie Williams. For all of the names in the picture, it’s an ensemble built around him, and Williams proves his mettle and will undoubtedly have a long and prosperous career after this film.

Gerald’s Game is a symphony of suspense and scares, spiked with just the right amount of gruesome gore.

Code Black manages to encapsulate so much of what is wrong with our health care system, but also to point out what’s right, and to posit an attitude shift not just about health care but about how we as a society treat those around us who are in pain or suffering. A heartbreaking but hopeful message within this important film.

After meandering for a while, the story kicks into gear in the third act, with a couple of legitimately shocking and well-executed developments that do pack a punch missing elsewhere in the film.

This really is Audiard operating at the top of his game, mostly dropping the contrivances of "Rust & Bone" for incisive character studies and a deeply humane, almost warm, worldview.

If The Disaster Artist does anything, it will likely inspire folks to seek out The Room. Not only would that make Tommy very happy, but it will make them want to watch Franco’s Tommy and further appreciate what a brilliant job he did in recreating the experience for its fans.

Herzog’s latest proves a masterful inquiry into technological evolution.

The film captures the what of Kneecap but also the why, which makes all the difference.

Brighton 4th might be slower and lack the dramatic stakes of other films that dive into this type of criminal activity, it’s still a compelling and somewhat tangential portrait of the Eastern European community that exists in Brighton and features a great performance by Tediashvili, in his first film role.

The film exists outside of boundaries of “good” or “bad.” It’s just true, which makes it scarier in many ways. The melancholy doesn’t just live inside Jarmusch’s world. It leaps off the screen and demands to be felt.

Washington’s performance is one of the best of the year, a high-wire act that is careful not to dip into survivalist caricature.

Its multiple charms are so sly, the performances so perfectly unflashy, you’ll likely be surprised at how affecting it becomes in its final stages.

Witty, observational, and hilarious, Maggie’s Plan is the kind of richly complex dramedy that proves to be the rare picture that serves both halves of that genre description fully, equally, and satisfyingly.

Never, for one second, is Vikander anything less than entirely truthful.

There is a fine line between meeting an audience halfway and witholding enough without falling into self-indulgence, but Kiarostami can't make that balance here. Enigmatic and dull to a maddening degree, Like Someone In Love finds Kiarostami spinning his wheels.

Underneath the dark humor and holistic mise en scène, there remains the nagging suspicion that what is onscreen is — in spite of the film’s best intentions — another patriarchal interpretation of Lady Macbeth.

It’s a weird movie, to be sure, but never an off-putting one. It’s also one that sometimes feels like a chimera itself, pushing various genres and ideas together without fully synthesizing them. But it’s consistently beautiful, watchable, and a truly memorable debut for Oren.

There’s so much to like about the film, and it’s a mark of Assayas’ skill that it's a hugely engaging watch despite the blankness of the characters.

In playing a man who was so clearly among his comic ancestors and influences, we see, for the first time in a long time, Murphy’s sheer joy of performance, the thing that made his early work in films like “48 HRS.” and “Beverly Hills Cop” so electrifying.

Gunn’s careful to keep the focus on the central five, but certainly proves himself capable of the bigger canvas. The film really pops visually, with an admirably bright color palette (DP Ben Davis doing excellent work), and though there are occasionally some geography issues, the action is mostly satisfying.

Nancy, Please begins as a deadpan slacker comedy with existentialist undertones, and Will Rogers' Paul is a ball of unsettled twentysomething nerves. It's a subtle shift in Semans' first feature, both in tempo and in Rogers' performance, that we don't realize the film taking on a slightly more diabolical undertone.

While a film of great craft, strongly performed by the cast across the board, and particulary by the lead, newcomer Saskia Rosendahl, Lore never lets the audience in close enough for it to be a truly embraceable picture.

We Are Little Zombies is much more about style than story. Nagahisa delivers a visual tour-de-force, careening wildly through an unimaginable array of arresting shots.

Ewing makes a creative decision in the final act of the picture which simply sucks all the air out of the room.

Corsage succeeds precisely by ditching the myth of objectivity in favor of portraying a woman eternalized by the glory and dolor of her imperfections.

Liza: A Truly Terrific Absolutely True Story serves as an introduction to the entertainment legend or a reminder of all that happened to cement her status as more than a mere performer, this film deserves to take a bow.

Of course, you can also just enjoy Red Rocket for Baker and cinematographer Drew Daniels’ gorgeous twilight landscapes or Rex’s irresistible charismatic performance. Or laugh at Stabler’s exploits (although we admit, the film could genuinely be a bit funnier) or fall under Strawberry’s charm. Or you can see more.

While zooming in and out of Burre’s life, Greene foregoes true insight in favor of a stylistic approach, using the kind of cinematic language that’s often reserved for fiction and feature films, and the result leaves you admiring Actress greatly, but from a distance.