It is a quiet movie until it isn’t, a gentle character study that goes into extreme territory, a wrenching drama that you think is about finding acceptance until it threatens to become about the impossibility of that very thing.

The Square lands its bullseyes, over and over, with a faultless precision that grows duller with each strike.

Dibb’s adaptation will have less of an impact if you aren’t seeing this story play out for the first time, but if you are seeing it for the first time, it’s probably going to break your heart.

A slow burn that never quite bursts into flame, Both Sides of the Blade is likely to appeal most to those who are already fans of director Claire Denis. That said, would anyone turn down the opportunity to spend a couple of hours with her luminous leading lady, Juliette Binoche?

Megadoc, whether it’s showing all there is to show or not, is a fascinating exposé of a filmmaker who risked everything so nobody could shoot down his ideas, only to shoot himself in the foot in the process.

Handsome and moving if a bit cautious, “Battle” is full of smart complexities and sensational acting, and it deserves to be considered a serious awards contender.

Cold in July never actually turns into the film you think it's going to, and even if that means there's a few unanswered questions ricocheting around your head as the credits roll, it also provides real, rich pleasures as it zigzags into the darkness.

Renoir is a coming-of-age story that doesn’t care much about lessons learned or milestones reached. Instead, it meanders for its two-hour running time, filled with lyrical moments that are belied by grim undercurrents.

The director hits no false notes. He knows firsthand the feelings each scene should convey, but he also has the skills to render them accurately.

There’s nothing groundbreaking here, but it’s a perfectly enjoyable continuation of the story that introduces new players into the ensemble and literally expands the world of Zootopia in a mostly entertaining and meaningful way.

There’s nothing particularly unexpected in Lawrence Lamont’s buddy comedy, but when it has no issue providing laughs thanks to stars Keke Palmer and SZA and their supporting cast, you can escape to the theater and have a good time rather than laughing by yourself in front of your TV.

It succumbs to evasiveness and sentimentality at the end, but this does not extinguish the memory of the many funny, touching, and captivatingly odd scenes that have come before.

In Haynes’s psychologically and atmospherically astute compositions and careful nursing of the emotional impact on Bilott and wife Sarah (Anne Hathaway), it’s more a brittle ache of a quest than a righteous melodrama.

Zax’s gentle, fly-on-the-wall perspective keeps us primarily in the present, reminding us that all we need is right there inside the shop.

Within the first few minutes of Athena, it’s clear this is propulsive filmmaking with thematic substance.

Francisco’s committed and surprisingly nuanced performance makes it easier to invest in the movie’s otherwise unexplained style of magical realism.

Even with its raunchier aspects, the film’s devotion to plotting the course of true love would probably meet with Miss Austen’s approval.

Star and co-writer Billy Eichner spins a lot of plates here, crafting a hilarious and heartfelt film that also acknowledges the challenging and often hidden history of queer people in American society.

Retaining the creative forces behind the successful musical is the key to the movie musical’s success, as “Matilda the Musical” maintains the mischievous humor and the uniquely oddball sensibility of the stage production and book, delivering a wonderfully rousing screen adaptation anchored by superb performances.

Ammonite is spare and hushed. Its pleasures are subtle, but they linger.

Skate Kitchen is a funny and stirring saga of female empowerment that will no doubt delight young women who skate while inspiring many more to pick up a board. It also heralds Moselle as a director who can easily switch stance on both sides of the fiction/non-fiction divide.

That we watch the ticking moments of Where Is Kyra? with so much concern is a testament to the filmmakers and cast determined to elevate her unnoticed life.

The result is a film that’s not just funny, skewering so much of the lazy yet still effective tropes of so much of true crime, but also a wake-up call for the genre.

Even with the film’s mild flaws and arms-wide-open approach, it tells a powerful, engaging and compelling story of how America challenged and changed five young black men, and how they in turn challenged and changed America.

The movie really belongs to Mortensen, who allows Ben to be exasperating, arrogant and impatient but also warm, loving and caring. He’s a tough but adoring father, a grieving widower and an angry defender of his wife’s final wishes, and Mortensen plays all these notes and more with subtlety and grace.

Well-researched and polished, even if it’s essentially a feature-length episode of “Behind the Music.”

Scott whips it all into shape: the tense action involving the kidnappers, the investigation’s twists, the maddening campaign to give Getty a financial incentive in freeing his grandson, and the emotional toll it takes on everyone (Getty included).

One Week and a Day succeeds in recreating that precise feeling, as hard to articulate as it is commonly felt, where exhaustion wears down any line between emotions.