Scarlet' might be [Mamoru Hosoda]'s most narratively ambitious work to date, adapting and warping one of the most famous tales ever told, adding new layers of complexity, and centuries of new, invaluable context.

The bracing thing about It Was Just an Accident is that it has married Panahi’s wit and humanism with real anger; if many of his previous films lulled you into realizing his points about oppression and injustice, this one is downright confrontational.

Ronan’s fiery Mary and Robbie’s emotionally complex Elizabeth truly reign divine on screen.

Found is told with such genuine love that it’s frequently hard to hold back tears. Once again Lipitz has focused her lens on the magic of girls and found real treasure.

McQueen and co-writer Alastair Siddons capture that sense that the children of immigrants often have of living with one foot in their adopted country and one in their parents’ homeland.

There’s no extraneous storytelling here, no scene that feels unnecessary, no scary moment that plays like it’s pandering. This is the expertly told, horrifying story of an abusive relationship filtered through the lens of a classic horror movie monster.

What’s perhaps most fascinating about this documentary is how sure-footed Allred has been in picking her battles over the years.

Land of Mine is a powerful epic, superbly acted, tense and unsettling, but also poignant and occasionally tender.

Fast and funny, filled with memorable characters, and able to balance slapstick and violence without spilling too far in either direction, this frenetic R-rated farce is that rare comic gem that lands on all the spaces without ever going to jail.

Zobel’s film grapples directly with the political spectrum and uses everything we love and hate about each other as fodder for humor and horror.

The Incredible Jessica James is an enchanting, deftly-written and witty movie for lovers and haters of romantic comedies, as well as for all those in between.

The Banshees of Inisherin is lovely and disturbing in equal measure, turning its darkest urges and blackest humors into a touching and evocative portrait of a time, a place, a community and a pair of crazy men.

Alfonso Cuarón has created a heartfelt masterpiece of mood and nostalgia, one that reminds us that his gifts as a storyteller and an interpreter of the human experience are not dictated by scale of production.

It’s incredibly thrilling to watch, impressively emotional throughout, and easily the best Spider-Man movie since “Spider-Man 2.”

Inventively, Gilroy utilizes exaggerated horror tropes to take to task our cynical thoughts about artistic creation. His sharp Velvet Buzzsaw is an exquisitely diabolical exposé on the merciless materialistic ambitions that run rampant in cultural fields.

A masterful, cinematic biography that unpacks a man’s life through his work, showing us an uncompromising and difficult man who apparently wouldn’t have had it any other way.

Killers of the Flower Moon is vast and vital in its scale, purpose and emotional scope, a Western-thriller and ensemble piece that is every bit a Scorsese crime picture as one can dare to imagine.

A mesmerizing study anchored by three incredible leads, each working at the height of their craft. The material is rife for exploration, rich with nuance and discoveries. And the ending packs a wallop.

Thanks to Gerwig’s imagination, this Barbie is far from plastic. It’s fantastic.

The film is one of the most meditative of Almodóvar’s career. ... It makes for less energetic and, yes, less exciting filmmaking. But “Pain and Glory” is a beautiful meditation on past and present, a memory piece that will nourish rather than provoke.

It’s powerful, provocative and devastating, blending the incisive power of dramatic emotion with the immediacy of the evening news.

It is subversive, stomach-churning and visionary, a body-horror film that doubles as a fable of femininity gone wrong.

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.

Wild Tales represents the work of an exceedingly skillful storyteller.

Marjorie Prime is a contemplative, intimate and poetic chamber piece, superbly told and nimbly acted, with equal parts nuance and empathy.

A sensual, ingenious update of Ibsen’s classic play, honoring the grand theatrical tradition and transforming it into new, ecstatic cinema.

The Go-Go’s tackles the seminal all-female ’80s rock band with such honesty, openness and effervescence that it not only rises above that clichéd, almost telegraphed arc but transcends the ranks of other music documentaries to offer a story you desperately want to keep watching, even when you already know where it’s going.

The team behind this new “Mission: Impossible”—like the makers of all the installments that came before it—seem to know on a deep level why viewers flock to this group of action movies: the indispensable big-screen proficiency and collective soul of the series first and the plot of individual chapters, second.