Most of all, the chance to spend 90 or so minutes in Fonda’s orbit offers a welcome reminder of what cancellation actually means. For her, and for F.T.A., it means silence. Bravo to the folks responsible for putting the film under a spotlight at a moment where a lesson in genuine cancellation is so desperately needed.

The true drama in the admissions scandal is not the ringleader or the celebrities and hedge-fund magnates who hired him but what this Hunger Games scenario means for all the children whose parents cannot afford his services.

Come True” is a surreal, mysterious, and efficient mix of science fiction references with an original ending.

ZSJL is a fan cut as much as it is a director’s cut, with all the indulgence that the notion applies. As for any continuation of the story, as the fans hope, that seems gravely unlikely considering the direction Warner Bros is headed. But for a director who had to abandon his grand superhero project because of a family tragedy and because a big movie studio tried to wrestle control of the film, which was too much to bear at the time, one supposes, this postmortem collectible for die-hard, is about as good as an outcome as one could get.

Superbly executed, Quo Vadis, Aida? is a masterful high wire act of tension and devastating humanism.

Brühl works confidently as a director and star, however, hopefully with the potential to be a little more ambitious in the future.

One finds oneself hard-pressed to find a wasted frame here.

Far from being copraganda, A Cop Movie, the new feature from director Alonso Ruizpalacios (“Güeros,” “Museo”), is a formally daring and incisive deep dive into their performance of authority.

Rejoice action fans, Frank Grillo is here to save the action genre, and Boss Level proves that he has the goods to perhaps do just that.

It’s infinitely more fascinating as a personal exorcism of old demons than as a piece of documentary filmmaking. That said, despite its cliched stylings, it succeeds through its intimacy and emotionality, as well as the smart arrangement of its footage.

Introduction initially feels like a smaller, quieter addition to the filmmaker’s oeuvre. Still, it proves to be another delicate and profound testament to how our lives can always be intertwined with those from our past, to the everyday human interactions, and especially to the honesty and wide-eyed possibility of youth.

[A] benign, only marginally-amusing-at-best nostalgia cash grab.

Its achievement lies in the space it creates for these children to open up a dialogue they rarely get to have – one that inevitably asks more questions, but that welcomes them as mature thinkers, keen to understand more about those raising them and the conditions in which they are being raised

More than a sardonic subversion of the tropes we fall for time after time, Schrader’s thoughtful romantic study digs into mundane neuroses and existential fears with wisdom, and empathy, making sure to keep you guessing long after Alma and Tom have stopped gazing into each other’s eyes.

It’s just dull, deeply bland, and unsophisticated, with little to say about any of its themes of intolerance, fear, misogyny, and gaslighting, other than these feelings exist.

In the overstuffed indie coming-of-age subgenre, Sophie Jones makes an unassuming, honest contribution. Which is exactly what it needed to do to stand out among the endless pomp and quirk.

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.

Slightly disappointing denouement aside, The Vigil is an effective, stripped-down exercise in pure terror, and a strong argument as any for a new wave of Jewish Horror.

Whether you’re a fan of her music or not — and for as many die-hard fans as there are, there’s plenty of dissenters — it’s fascinating to watch a singer come into her own, establishing her still-forming identity in a rapidly shifting industry. Hopefully, Cutler will stick around, watch the development and, see what more can emerge in the future.

There’s a great film waiting to be made about the opioid crisis. But much like “Hillbilly Elegy,” “Cherry” can’t conjure up the cause and the toll of the devastation without relying on pastiche. Even the ending, meant to be a moment of healing, reduces Cherry’s concluding journey to a mere saccharine montage.

It’s a mixed-at-best effort with a strong lead performance, but one that ultimately cannot honor the legendary song (or singer’s life) it takes most of its emotional and spiritual cues from.

Look, America certainly needs relief, support, escape, and laughter, yes, but good god, ‘Barb & Star’ is not it.

It’s doubtful you’ll be shocked by any major event in the film, but it’s the ability of The Map of Tiny Perfect Things to surprise you with the emotional resonance that ends up being its biggest strength

No, it doesn’t make much sense. But holy shit, it’s a wild-ass ride.

PVT Chat is a nasty, unflinching, discomfitingly watchable experiment that, if nothing else, proves once again that Julia Fox should be in all the movies, all the time.

This movie is literally and figuratively saying music can save your life, but the execution is all treacle and dust—overly sweet and utterly empty.

Mostly compelling but unfocused, Wild Indian dips its narrative feet in a slew of themes, all worthwhile, and doesn’t commit to any of them as its guiding star in the murky sky of its ambition. As the filmmaker tries to bind all of the moving parts, the whole turns scattered-brained and structurally disjointed.

For a movie about the inequities inherent in both parent/surrogate relationships and expecting father/expecting mother relationships, the stakes hover surprisingly low in the plot stratosphere.