There are, of course, countless prisms through which to examine the events of 9/11 and their lingering impact, but Come From Away offers one that is stirring and funny, moving but never mawkish. It’s a story that provides hope without turning its eyes from despair.

King Richard may be a fairly straightforward biopic, but it’s an enjoyable one, giving viewers the chance to enjoy a heartwarming if not uncomplicated story, talk about parenting and the stresses the many characters faced on their way to the history books

This film is a real pleasure and surprise because it sees old emotions as things that can be replenished and renewed if you are open and not too rigid about the boundaries of your relationships with others.

Three Faces is typical of the canny director’s output in the way it’s modest but profound, leisurely but urgent, a portrait of a country disguised as a meandering road movie.

Thankfully, Hold Me Tight, with Amalric’s alert, empathetic stewardship and Krieps’ gripping portrayal, sets aside the banality of grief’s burden for something more alive and elusive, but no less affecting.

It’s Merritt’s devastatingly authentic turn as a kid propelled by good intentions and naïve ambition to scuttle his own life in order to create a better one for his family that makes Demange’s follow-up to the critically-acclaimed “’71” a frequently indelible cinematic experience, charged with unique energy and impact even when its premise is overly familiar.

Mixing glorious pastiche and gory ghost story, director Edgar Wright’s Last Night in Soho will stand as one of the best London movies of new decade.

In spite of an excessive, metaphor-bash of an ending — forgivable when everything else on screen is this frenziedly fun — In Fabric seduces like its bias-cut main character, then taunts you for your desire.

For those looking for regrets or profundity, Iris doesn’t dig particularly deep in that regard. But if you want merely to revel in the life of a singular figure who approaches her look and her life very much on her own terms, you’ll be charmed and delighted — and maybe even inspired to try something risky next time you get dressed up.

Téchiné intuitively favors movement over chatter, and he directs his young actors toward intimate, yearning performances.

Many might come up with a sequence that overlays gangster and horror tropes with bursts of violence and dance; few would then toggle between first-and third-person perspectives; and only Bi Gan would have that first-person camera start singing karaoke.

Unabashedly silly, yet effectively sincere, it is a film that grows on you.

While the digital effects are undeniably contemporary, Crimson Peak is otherwise a period homage that mostly plays like a period film, rarely giving in to contemporary notions of pacing and payoff. When the scares do arrive, however, they’re effectively unsettling.

A meditation that measures social failings in the toll they take on individuals, Time builds to scenes that are almost shocking in their intimacy. It stays away from polemic but hits all the harder for its restraint.

Throughout, Kaurismäki shows his usual complete control of a delicate tone that could easily go awry if it didn’t work so well.

Howard’s film is a love letter to the icon, but ultimately Pavarotti is a more of a celebration of the individual behind that façade and a reminder that it’s as much his humanity as his talent that made him a star.

Etzler wields the film’s urgent satire like a scalpel, precisely cutting away at all the lies we so easily find ourselves telling that mask the darker truths about who we are.

While Let Them All Talk doesn’t quite have the snap of Soderbergh’s “High Flying Bird,” it’s just as much a film of ideas about talent and commerce and the responsibilities of the rich and powerful. And with a cast as talented as this one, the title itself provides a guidepost for how to tell this story.

The themes are broad and brassy as the film that explores them, and all the better still. It was about time for someone to take such a big swing, and to hit the ball so far out the park.

“Raise Hell” reminds us of the never-ending importance of those skilled observers with the ability to speak truth to power. And if, like Ivins, they can make us laugh while doing so, then they’re all the more essential.

To say that we know where the characters in Green Book are going is not to cheapen the undeniable pleasures of the ride.

Cummings may have taken the easy way out here and there, but she largely delivers a film that kinda sorta makes you think, which isn’t a characteristic the genre is known for. Throughout, your feel-good chemicals will be flowing.

As with “Summer Hours,” Non-Fiction traffics in ideas and concerns without handing out leaflets; first and foremost, this is an empathetic and charming character piece, featuring top-notch actors (Binoche revels in a rare opportunity to be funny) enjoying richly clever dialogue.

Sprawling where “Son of Saul” was focused and frustrating where it packed a punch, Sunset is nonetheless an audacious step for a director who prefers immersion to exposition. It’s not easy, but it’ll get under your skin.

The Coens revel in both the glamour and the squalor of post-war Hollywood with a film that more than makes up in wit and flash what it might lack in substance.

A Haunting in Venice is a moody Gothic horror feature that feels completely refreshing in a landscape of jump scares and gore.

Gillespie’s snappy direction and Kirk Baxter’s nimble editing capture the chaotic and irreverent online culture without necessarily disrupting or distracting from the main stories.

Bourgeois-Tacquet’s script is loaded with witty bon mots and carefully-constructed insights.