Indeed, this year’s Antiquarian Book Fair is celebrating its 60th anniversary at the Armory right now. And after seeing “The Booksellers,” you’ll be a lot more likely to think about how to get there, and maybe a little less inclined to place that next easy order on Amazon.

As DeBlois engineers this tale towards an expectedly exciting and poignant conclusion, one realizes how well that cleverly misdirecting title How to Train Your Dragon has morphed from literal to figurative, from being about command and obeisance to handling the turmoil within.

In the end, Lelio earns the powerful close of The Wonder with every temperate turn. His film, a career-best, departs like a birdsong, with an optimistic finale as perfect and revelatory as they come.

Mr. Woodhouse’s daughter may be a case study in the perils of playing God with others’ hearts, but Emma. is proof that bringing a timeless book and fresh talent together is still a worthy kind of artistic matchmaking.

Despite the fundamental problems with any 'Watchmen' adaptation, and the serviceable but not entirely effective visual aesthetic, 'Chapter 1' does a respectable job of retelling this story.

Fassbender manages to find the psychological throughline that makes Macbeth’s increasing mental deterioration — a development that can feel overly formalistic, not to mention moralistic — wholly convincing.

Ms. Purple is a gorgeous film about one of the worst moments of many people’s lives, but isn’t the act of living just learning how to survive these irreplaceable losses?

Far From the Madding Crowd will no doubt captivate future generations of tenth-graders who couldn’t be bothered to read the book, but it flattens the complex characters and grand scope of Hardy’s novel into an airless and overly truncated CliffsNotes version.

The Perfect Candidate feels like a film that both represents a new era for women in the Muslim world and also one that will help push that movement forward.

Shawkat breaks out subtleties that she’s never been able to show off in other roles.

Plaza deftly keeps us off balance throughout, daring us to relate to Ingrid even as we’re repelled by her.

Paints a rich picture of full lives using little more than pauses, glances and a frozen landscape that says volumes without speaking.

Surely Ginsburg is far more interesting than her devotees, her enemies, or this film make her out to be.

The most serious flaw of “It’s Only Life After All” is that Bombach has us spend so much time with these women, yet we learn so little about them.

The Survivor needs to be an unpleasant movie to watch, because you don’t want to simply use Nazi atrocities to advance the plot. So Levinson doles them out, makes them shock and then ties them into the postwar Haft standing in a ring and enduring merciless beatings.

#Female Pleasure smoothly glides from one country segment to another and engages audiences with the personal stories of the five women, told through voiceover and solo interviews, as well as a broader look at the cultures in which they live.

Don’t Breathe makes a striking first impression but overstays its welcome.

It’s too bad that Chastain’s heady, exquisitely subtle performance is dragged down by the laughably vehement male characters that seek to speak for her. You can’t keep a good woman down. But you can constantly talk over her, I guess.

Blinded by the Light is corny, silly, as overblown as one of Springsteen’s grandest anthems and damn near irresistible.

Come As You Are is best when it’s not trying so hard to be the next great sex comedy and actually focuses on building the relationships among the male friends and their own existential crises, which gives the film so much pathos as it explores their vulnerabilities and frustrations.

With this determination to eschew simple explanations, to avoid being reductive about the cause and effect of an artist’s work and life, and to remain true to the cloudy circumstances surrounding Pasolini’s murder, comes a troubling directorial decision to turn the man’s death into a symbol — of what is unclear.

Despite some grim ecological statistics and a conservationist message, the movie is so inspirational it feels like the sort of old-fashioned family film that can now be excavated on Disney+.

There are few surprises here.... But that’s okay, because we’re in it for the ride, the company, and the pure pleasure of watching these women, and the actresses playing them, embrace an independence Hollywood doles out too grudgingly.

Admirable throughout is the balance that Ribeiro strikes between dewy eroticism and the contextualization of sexuality as just a single aspect of one's identity, albeit an essential one.

This is a fine, funny and moving film tribute to the efforts and passions of its titular heroine, a woman who lived out her dreams, at any price.

Buoyed by the performance by Hardy and by newcomer Jason Patel as Aysha, Unicorns pleads for understanding but does it in a way that at its best is contemplative rather than histrionic.