Hirokazu has crafted a warm and lovely film that suggests the easiest thing about raising a child is embracing how complicated it can be.

While Vitali is frank about the nature of his demanding and subservient relationship to the man, his warmhearted, dazzled, Everest-high respect for Kubrick’s talent remains undimmed even now. It is truly inspiring and touching just how little bitterness Vitali has in him, and it stems from his having no regrets over a life dedicated to something he believes in with utterly selfless purity.

Domont’s script just turns into a series of victories, defeats, increasingly distracting narrative leaps, and ultimately silly turns of tone that seem designed to provoke whoops and sneers and cheers.

Authentically pensive and distressingly honest, Colewell remains true to its convictions by prominently exhibiting the uncomfortable truths of growing old. Remarkably, the film’s subject matter is treated with an impressively respectful restraint, opting to stay grounded and not venture down melodramatic sideroads.

With Krige as its anchor, She Will offers moments of true greatness – and a few pointed barbs at ageism and patriarchal history, too. But as the two sides of Ghent are thrust uneasily together, Colbert struggles to sustain the pulsing rhythm at the heart of the film.

The picture is genuinely entertaining and moving, but the fact it even exists in the first place is something you simply cannot dismiss.

There is an eventual reckoning, but one wishes that Tan, at least for these moments, had allowed the film a few more inches of dramatic space.

The film is the most formally experimental, and probably the least approachable, of the director's titles to date. But it's further proof of Wheatley's singular sensibilities as a filmmaker.

Whether a viewer might be a fan of Wham! or not is ultimately irrelevant, as Chris Smith has produced something as incendiary as any of Wham!’s hits.

What’s often most striking about Inside Out 2, however, is how the arguments and conflicts between these emotions often feel as though they are speaking directly to the adults in the audience.

The film is a mostly workmanlike biopic that unfortunately can never match the energy of the subject it’s trying to capture.

What there is, however, is Nasibullina and she makes you root for Velya despite all the character’s faults

It may amount to less than a hill of beans, but Hill of Freedom is an amiable way to spend 66 minutes learning how even cultures that seem closely related to Western eyes, like those of Japan and Korea, can clash. And also how cultures like these, that seem so far from our own, can be trumped, by love, longing, friendship, sex and drunkenness, the same universal experiences we all share.

The Fall Guy is a wonderful movie about love and collaboration mashed up with an aggressively fine summer thriller.

This prodigal son’s reappearance ignites a rivalry a little Biblical and a little Shakespearean, though their macho melodrama hews most closely to the flavor of screenwriterly contrivance.

Chu’s film is a triumph. An all-around delight. A colorful concoction sure to satiate fans, new and old alike. The film delivers both winking nods to the original stage production and finds novel ways of making its iconic numbers sing on screen, all while making the best use of live singing in recent memory.

The Chesters have created something truly stunning and want to share it with the world. I’m sold on the lifestyle but as a film, their approach doesn’t make for the most compelling drama.

Unwieldy and unkempt but both moving and dizzying to experience, Laurence Anyways is Dolan's grandest statement yet.

Sollers Point is an intimate and wise character study, not only of an unformed young man but also of a neighborhood struggling to preserve itself in the face of economic decline.

While the film never reaches the kind of emotional peaks of James’ best work like “Hoop Dreams” or “The Interrupters,” Abacus: Small Enough To Jail is no less compelling. And it serves a very important reminder, particularly at a time when more than ever, it seems banks are putting profit in front of people.

Director Johanna Hamilton should be credited for getting these faces in front of the camera, to humanize political rebellion of an early era not as some sepia-toned memory, but a story of very human individuals.

These are strong performances, committed to the truth of the scenario however grim that might be but Young’s talents extend beyond that. Having also written the script, he clearly designed this film to allow him to show off some impressive, expressive visual storytelling.

The problem isn’t quite that the film is short on thrills (there is a paucity; the first adrenaline racing sequences don’t arrive until about an hour in), it’s that it’s not quite a character piece either.

Spaceship Earth is a highly watchable document from a curious cultural convergence in which avant-garde “Star Trek” utopianism met the glare of the mainstream.

Although arranged around a fulfilling, life-changing connection The World to Come is a deeply lonesome lovesong.

It certainly succeeds in being a joyous, humane look at the role that school, education, and, most importantly, teachers have in the lives of such malleable minds.

The Killing of a Sacred Deer is Lanthimos with the gloves off, and it makes the absurd, amazing “The Lobster” seem like a warm and cuddly experience by comparison.

Sheridan pares his story and characters down to their barest essentials, making a movie that comes off sometimes as slight, but which ultimately delivers the goods for those who like smart takes on life-or-death macho adventure.