The creative vision necessary to properly chronicle the impact of two musical icons never presents itself and thoroughly undermines the film’s resonance, deforming the movie into a prosaic, excessively sentimental catalog of events.

It is, in essence, a two-hour curtain call, a celebration of not only their music but their friendship, and a chance for the duo to have the last word on their legacy.

It’s a playful vision that allows for many contradictions — the superficial and the profound, the boring and the thrilling, the ugly and the beautiful — and for an endlessly creative vision of art and cinema.

A good movie exists in On the Count of Three. But a film with such challenging subject matter needed a more experienced director capable of shading the dark comedy and the heartfelt spirit with an assured visual hand.

The plot moves as briskly as a ship sailing across the sea, which should please young viewers. While The Sea Beast has some timely messages, it’s mainly just a chance to escape from our living rooms.

For all the enchanting elements, the kooky lovable sidekicks, and spirited voice performances from Awkwafina and Tran — the warmth shaking the ash from this well-worn story is the gift of family. The family we are born with. The family we make. The Southeast Asian-inspired “Raya and the Last Dragon” conjures some much-needed magic for a modicum of fun.

They may inspire near-religious fervour in some parts, but when it works, Made of Stone doesn’t tell the story of The Stone Roses’ resurrection or Second Coming as much as of their second chance: to play together; to reward the faith of their doggedly loyal fanbase; to be adored.

The restraint with which Youmans characterizes is refreshing, but the performances can also feel diminished by inscrutable elements, whether that’s missing narrative context or simply parts of scenes that are simply hard to see or hear entirely. Still, Burning Cane would be an impressive debut at any age, showing a distinct style, a suggestive eye for setting and detail, and an admirable willingness to experiment.

The arresting visual competency of Scarlet, which includes the clever use of archival footage previously seen in Marcello’s Venice darling “Martin Eden” and the beautifully composed textures of its cinematography, can’t salvage its muddled pace.

Thankfully, the film has Jamie Foxx on the bench in a truly funny and passionate turn as legendary lawyer Willie E. Gary.

Although Smoking Causes Coughing isn’t as substantial or funny as some of his other films, it remains a breath of fresh air and contains enough moments of invention and flawless comedy to amuse and charm, particularly at a festival that has sorely lacked laughs so far.

Catherine Called Birdy is delightfully witty, irrelevant, and modern-minded while carefully dodging the self-satisfaction and smugness that those descriptors can conjure up.

It’s thrilling to have any semblance of Studio Ghibli back in our theaters and Mary and the Witch’s Flower will momentarily satisfy that hunger, but will leave you wanting more.

Lindon's performance is so perfectly judged, so inspiring of an avalanche of sympathy and empathy without ever seeking it out, that we are on Thierry's side immediately, feeling every slight and every instance of condescension perhaps even more strongly than he does himself.

Ultimately, not only has Park crafted an often hilarious and entertaining coming-of-age movie, but a surprise tearjerker.

While not a complete portrait of Lightfoot, “If You Could Read My Mind” provides enough key insight into the musician to entertain those who are already fans and convert the others who perhaps haven’t heard of him.

The endlessly surprising, often riotously funny Computer Chess basks in the details of a group of men who, at a key point in history, are asking themselves not only if they can accomplish something, but why, and what it means to their current generation.

For all of the blood, guts, and gore, for all of the stomach-cramming gluttony, here’s a story brimming with extraordinary romanticism. What emerges, by the end, is one hell of an ode to giving yourself to the ones you love: your bones and all.

Those who find Villeneuve to be a self-serious, humorless, and pretentious bore likely won’t be changing their minds anytime soon after “Dune,” but that just might be their loss. Whether Warner Bros. accepts the call to make a sequel in a climate of dismal box-office returns remains to be seen. But that’s not our concern at the moment; Dune is undeniably impressive, spellbinding, and evocatively immense, regardless.

While far from perfect, Welcome To Pine Hill works more often than it doesn’t and is an intimate and existential character study of a man out of place with his past, himself, and his surroundings, and the push and pull of former and future worlds beckoning him.

A taut thriller that almost doesn't waste a single step.

At its heart, the film tells an incredibly touching – and altogether unexpected – human story. Entertaining and educational in equal parts, Simó’s animated film is one you don’t want to skip.

Rush is a pretty thrilling piece of pop entertainment. It's excitingly assembled and moves like a bullet, highly engaging and nerve-wracking when it needs to be and light on its feet elsewhere.

Wistfully looking back on the past with a mix of affection for those we have lost, a melancholy yearning for the more tender age of innocence, and anxiety and regret for our trespasses, Gray’s stripped-down drama is a clear-eyed and emotionally intelligent work of great empathy.

Lovesong is carried by the actors’ chemistry and body language.

Trier crafts a drama that is sublimely ambiguous, austere and also deeply sad and heartbreaking.

While Plan B might follow a familiar map, the back roads it takes make for a unique ride.

If only more period pieces these days were as finely tuned and accessibly pleasurable as Westmoreland’s film.