It’s a film that stands as a testament to the resilience of the human spirit and our ability to rebuild even after experiencing the worst.

It seems impossible for anyone to remain unmoved by Harper’s thoughtfully-constructed history.

A sensitive drama that marks a notably personal feature debut.

Jason Statham knows how to Jason Statham, and as usual, he Jason Stathams Jason Stathamly.

This film, though not formally revolutionary, is the type of defining, delicate portrait that moves beyond the often tiresome trend of music documentaries that simply shower praise on their subjects.

The pros don’t come from trustworthy sources and the cons require a lot more elaboration.

Credit where credit is due to Wicker, it’s not every day you get to see an Oscar-winning actress mount a Hollywood heartthrob made into a literal wicker man. Alas, despite the novelty of seeing icon Olivia Colman climb a towering Alexander Skarsgård like a tree, the magical fable within which this happens is not only regrettably far less fun than this description sounds, but an oddly wearisome affair.

Throughout it all, Hawke is mesmerizing. The action scenes are tense and well-executed, though it’s the way he grounds it that makes you feel every setback.

There is a tension that comes from the humor clashing with the tragedy, but it’s a worthwhile one. Life is full of sudden loss and then also ridiculously funny moments. Capturing that authentically is no small feat, but Duplass does so with delicate care.

The movie’s big-heartedness is what makes it so essential and, potentially, to those not enamored by its oddball charms, so cloying. But given the state of the world, with each new day bleaker than the last, a movie that is this unabashedly sweet is something that should be treasured, protected and celebrated, not frowned upon.

Kikuchi’s strong, singular presence immerses the viewer in her character’s whimsical imagination and confusing emotions. She makes Haru a character worth rooting for — even, or perhaps especially, when she’s making all the wrong decisions.

Though there are flashes of more chaotic comedy that get the pulse racing here and there, for the most part Chasing Summer is a surprisingly safe genre riff.

This is as essential a historical document as you could ever hope to find. It should be considered required viewing for every American who has the slightest interest in our nation’s history, politics, or culture. And, come to think of it, also for those who don’t.

Ultimately, The Gallerist gets by on its zippy pacing, committed performances, and a tinge of meanness that holds enough suspense.

It’s an unexpected commentary on filmmaking that layers metatextual zingers into its unbelievable rom-com intentions, somehow delivering what the title promises and more. In terms of mainstream comedies, we’re not in Kansas anymore—and that’s a win for Wain’s collective.

No matter where you think Send Help is going, you’re probably wrong. Thankfully, that’s a huge part of its appeal. It’s not a mystery, by any means. But it is a story rooted in the exploration of human nature and exactly who we become if it means survival both in the literal and figurative sense.

Bamford seems remarkably at home in her unsettled state, to such a degree that her self-awareness feels downright aspirational.

The filmmakers’ connection to the material is always palpable and undeniably affecting.

While The Shitheads doesn’t turn completely, it never fully recovers from what ends up feeling like an out-of-place, car-into-a-brick-wall choice of a tonal crater.

At every turn, the film earns every emotional, lived-in development, instilling this slice-of-life portrait with such a quiet humanity that it can feel like you’re sitting at the tables and in the meeting rooms along with all the characters.

As shot by his frequent collaborator, the cinematographer Benjamin Loeb, and cut together by Kogonada himself, Zi blurs the lines between tone poem and hangout movie, letting both merge together to become something unexpectedly moving.

Each time you think you’re seeing the daylight of something potentially better to explore on the horizon, “Buddy” keeps dragging you back into the banal darkness. Like the kids, you deserve far better than whatever this lackluster production amounts to.

Chiarella’s film is small in scope but shattering in emotional range, slowly burrowing under your skin. Once it makes its home there, there is no shaking free of its haunting, heartbreaking and surprisingly harmonious vision.

It’s honest about the deception that is inherent to celebrity, confronting us with one compromise after another, building to a pitch-perfect finale needle-drop over a captivating monologue that elevates the comedy into a work of grand, messy ambition.

Saccharine is not a film that goes down easy, but you may just find yourself hungering to return for a second course to get a better sense of what James is serving up.

Though an extension of the same tone that was experienced in his HBO series, this feature is more than just one very long episode of his show. Instead, it’s like Wilson has fully become a funnier, more frenetic version of Frederick Wiseman.

With Carousel, Lambert’s new romantic drama starring the excellent duo of Chris Pine and Jenny Slate, she strikes gold yet again.

The fact that the movie can still stay entertaining enough is thanks to the performances and Carnahan’s claustrophobic camera work, which turns a mundane cul-de-sac into a particularly unnerving location. But once the film hits an answer on who you can trust, it can’t help but sputter to the end.