It’s Diane von Fürstenberg’s life and I’m not even sure the rest of us get to live in it. We’re just allowed to peek through the window and be dazzled.

Ultraman: Rising is a contender for best animated movie of the year, one of the best superhero movies in years, and one of the all-time greatest American adaptations of a Japanese franchise.

The Watchers' isn’t very scary and it’s only interesting for as long as it’s an intellectual curiosity, and it’s not intellectual curiosity for the full 102-minute running time.

It’s a film that’s full of love, but it’s an unhealthy love that’s detached from reality and the movie seems detached as well. It’s too maudlin to convey its own moral complexity and too foreboding to be sentimental.

By following this group of mediums Wilson doesn’t solve the mysteries of the universe, but she does do something remarkable: unveiling the very human desires and drives that motivate us to reach out for something bigger than ourselves.

There’s no escapism here, just like there’s no escape from our final repose. But there is a sense that how we face mortality matters, and that maybe — after watching this strange and wonderful film — we’ll be better equipped for that moment.

The new documentary is a colorful force of nature underscored by the fierce soundtrack of life, embodying the best parts of its subject in the name of nostalgic exploration. After all, music can tell beautiful stories, and this journey is no exception.

Bad Boys: Ride or Die shows that not only is there still life in this series, but as long as it stars Smith and Lawrence with skilled directors like Adil & Bilall, you could have Lowrey and Burnett wheeling themselves around the old folks’ home and have a blast.

The sort of feel good family film the House of Mouse used to know how to make before the middling box office for Mira Nair’s exquisite 'Queen of Katwe' made them panic and delete all their files on how to inspire young audiences.

It is a wholly uncompromising experience that dances with mirth and melancholy. Proving to be evocative in one moment and unrelentingly exhausting in the next, it’s as gorgeous to behold visually as it is hard to completely embrace thematically. And yet, if you abandon yourself to it by the end as one character says, you can catch glimpses of something spectacularly sublime in the vast journey that it takes on.

It’s incredibly effective and culminates in one of the best closing shots of any film to show at this year’s festival. Without ever once overplaying its hand, it ensures the smallest act of resistance and compassion hits like a train.

Caught by the Tides is an elegy of sorts, at times angry and abrasive but more often gentle and reflective.

Hidden somewhere beneath all the generic dialogue, embarrassing plot, mediocre action and oddly ineffective performances, there’s a good idea in Brad Peyton’s Atlas. It’s a shame the filmmakers never found it.

You could argue that Sorrentino is treading water after the deeply personal explorations in “The Hand of God,” but these are rich and mysterious waters to tread. “Parthenope” is a work of casual mastery; you could say that it’s great and it’s beautiful.

A thoroughly fun and provocative time at the movies.

The Shrouds is sober, serious and profoundly sad Cronenberg. It’s still a hell of a ride, but it’s going down a road where there’s a heavy toll.

The Apprentice is amusing at times and disturbing at others, but it’s hard not to think that Ali Abbasi could have done something weirder, wilder and more satisfying if he’d found a way to bring in more magic and less MAGA.

Henson and Howard are a fine match, and the sort of film you’d expect Ron Howard to make – straightforward, skillful, honest and sympathetic – is pretty much the kind of movie you’d want about Jim Henson.

When I say The Garfield Movie is the best Garfield movie, it’s going to sound like faint praise. Because it is. But faint praise is still praise.

The film can be confusing, but it’s not meant to be pinned down. And despite the occasionally surreal touches, it’s an examination of how the beauty of tradition can also be an opponent to justice and humanity.

Wild Diamonds is a character study both of Liane and of the culture that has spawned her, and a film that manages to be both empathetic and unforgiving. It won’t make you think she’s making smart choices, but you’ll understand why she’s making bad ones.

It’s a pat retread of all the violence from the original film, with no emotional investment and no creativity in the mayhem department.

So tip your the greasy, dusty, battered hat to George Miller, who is pulling off some kind of ridiculous feat by turning these grungy action movies into a grand saga.

The Second Act is little more than an amusing trifle, as meta as that trifle may be.

Krasinski’s film is a vague celebration of imagination and wonder, but it can’t imagine a world that makes sense or entertains, and that’s just not wonderful.

The self-contained “Treasure” ambles along on the strength of a fine, self-contained script and two winning performers, without ever reflecting or commenting on the historical weight it sets out to explore.

Trying to overwhelm the audience with spectacle, as “Kingdom” attempts to do, is a sorry substitute for the detailed characters and thoughtful conflicts that populate prior entries in the series.

Ryusuke Hamaguchi is an expert at crafting films that subtly enthrall our minds, and this is just more proof.