By the time the curtains draw to a bittersweet close, you’ll walk out feeling rejuvenated, satisfied, well replenished in humor and culture, and already planning your own trip to Italy.

Sauvage captures the multitude of emotion or lack of, that come with Leo’s tricks. There’s jealousy, pain, excitement, cruelty and even monotonous apathy where you’d least expect it.

A gorgeous and grave anti-epic, Pacifiction proceeds in scenes that serve as pristine containers for Serra’s idiosyncratic style, slow and digressive, full of flabby jokes and windy talk. It’s like watching a tropical aquarium slowly fill with algae.

Thankfully, ‘Recorder’ salvages its lack of narrative control with enough emotional weight to earn its memorability.

It’s not a terrible time at the movies, but after Coogan & Pope’s previous collaboration on “Philomena” proved to be such a genuinely satisfying example of this kind of drama, it’s hard not to feel like there’s something of a missed opportunity here, a film truly deserving of the excellent performances at its centre.

Petzold’s unsettling film is awash with wonderful ambiguities and strives to challenge both its audience and filmmaking conventions. They’re incomparable and largely succeed through their independent nuances.

With suburban normalcy ultimately derailed by a suitably cynical, albeit humorous resolution, the final actions these neighbors take contribute to a far more meaningful message regarding the unsympathetic tendencies of humanity. Moreover, the measures taken by these feuding characters underlie the ruinous ways in which grief, hysteria and mental illness as a whole continue to be approached by society, especially by our own family members and neighbors.

The filmmakers squander a boundlessly fascinating figure in service of yet another paint-by-numbers info-doc with all the dramatic heft of a book report.

As an sensory experience, 'WOWS' is mostly a terrifically visceral one, a full throttle fast and furious bacchanalia of drug-fueled madness. But as a scathing indictment of American rapacity, it isn't particularly deep or resonant beyond the exterior.

Zombi Child is the rare film that’s both rich in ideas and fun, a reckoning with forces colonial powers would like buried, but that won’t stay dead.

Diamond Tongues is refreshing because it isn't an indictment of a demographic, or even of Edith, but is a portrait of a young woman whose ambition has curdled into something more nasty along the way.

Often echoing a thriller — Logan Nelson’s nervy score doing a lot of the heavy lifting — Nothing Lasts Forever is both concise and wide-ranging.

What Blair is trying to do is quite ambitious for his first feature. He alternates moments of high comedy with serious tension and a touch of magic realism for kicks. For the most part, the tone works.

Dark Horse is crowd-pleasing and rousing, but its biggest problem is that no successive part of the documentary can sustain the power of its opening prologue.

Somehow the filmmakers found lightheartedness and – gasp – laughs in a story of political intrigue at the top of the notoriously buttoned-up Catholic Church.

While Muscle Shoals and its presentation doesn't reinvent the wheel—this is your standard talking heads documentary—the treasure trove of stills and found footage makes for a compelling and effortlessly watchable film that even the casual music fan should find themselves totally engrossed in.

For all its minor faults of under-developed characters and disjointed scenes, “Honey” is worth seeing not only for the compelling performances from the two leads but for the incredibly effective use of light, reminding us just how much other films take it for granted.

An enigmatic and perhaps occasionally overly deferential documentary about one of the all-time great character actors, Sophie Huber’s Harry Dean Stanton: Partly Fiction, is slow out of the gate, but gently, ever so gently, builds to a thoughtful portrait of a thoughtful man.

The Art Life is more concerned with the art rather than the life of Lynch, and this is the only true weakness of the doc. While informative to a certain degree, there’s always a sense that something is missing here. That there’s more to Lynch than the film cares to explore.

The frustration of watching Drew’s journey unfold makes for a unique viewing experience, and whatever it is he seeks in life, I hope he one day finds it.

In being such a simple, unshowy film, it avoids asking too many questions or digging for the larger truths writ large in the story of Fyre about our society, about celebrity and influencers and Instagram, and the patently manufactured lives that we’re taught to believe we can have.

Breillat’s film is devastating because it exposes at the heart of a seemingly normal family a black hole where empathy should be.

Godard's full length take on 3D is bold, brilliant and exactly what the format needed — a iconoclast taking it and making his own, and almost every time he frames a shot in three dimensions, from opening credits to the final moments, there's something attention-grabbing going on.

Arguably the most persuasive and compelling of Ferguson’s films to date, Time To Choose is an imperative, essential essay on our climate change crisis, and if it ever feels didactic, it’s counterpointed by its very real and very human nature.

A work of such unparalleled Andersonian wit, that at times the sheer level of detail – mobile, static, graphic and typographic – that bedecked the screen was enough to make your correspondent’s jaw slacken. Which meant curtains for the carpet as I was smoking a cigarillo.

Fever Dream never delivers on its promises and eventually collapses due to its cluttered narrative organization, unintentionally sluggish pacing, and an unbridled assortment of themes