For devoted filmlovers, Nouvelle Vague is a must-see – a joyful homage to the art of cinema that’ll have you queuing at your local repertory cinema as soon as the credits roll.

Harmony is a finely tuned comedy, complete with precisely scripted jokes and comic set pieces that swerve toward the playfully perverse.

It may not be the sharpest satire, but Barlow and Senes have a heap of wicked fun wielding the blunt trauma as Sissy takes a wild stab at everything from influencer culture and wellness voodoo, to body image crises and backstabbing (literally) so-called friend circles.

The documentary is strongest during these conference-room brainstorms, similar to those of a political campaign. (It could have used more of Boies’s witness-demolishing courtroom eloquence.) The draw here is watching a careful process unfold, regardless of the outcome.

What makes this latest installment such a riot — apart from having more money than usual, thereby allowing the practical special effects to achieve a splattery early–Peter Jackson glee — is its original script by "Brawl in Cell Block 99’s" S. Craig Zahler.

Interviewing residents from across the spectrum, Neshoba reopens the debate: How was this allowed to happen? How do we move forward? Some questions, this compelling movie reminds us, still require answers.

Na keeps pulling the rug out from under us, and his brawny genre exercise doubles nicely as a scream of social anguish, since most of the twisted screwups occur at the hands of bumbling or corrupt cops.

A finely wrought image of terminal stasis, national, political (Charles Barr suggests the gang as the first post-war Labour government), and/or creative (the house as Ealing, Johnson as Balcon?). Whatever, Mackendrick immediately upped for America and the equally dark ironies of Sweet Smell of Success.

You can't believe what you're watching: Compliance, true to its title, digs into the rarely explored subject of psychological acquiescence (behavioral scientist Stanley Milgram should get a cowriting credit), with common-sense dignity being the first casualty.

The riskiness of [Jenkins'] set-up, one that blooms with complications and rawness, is a thing of adventurous beauty. Her film is a gift to those people who discretely flinch at every dinner party and kid-celebratory anecdote.

It’s nice to see this great filmmaker sculpting something that feels genuinely revelatory. That’s not to say that the 3-D Goodbye to Language is always an easy sit.

You feel for the potential Wesleyan parent who asks an administrator if his daughter is going to have to move home after graduating: His question is met with an uneasy pause. Crucial stuff.

Sing Sing’s most affecting quality is its commitment to reality over shock value. With Domingo masterfully anchoring the ensemble, it’s never bogged down by the specifics of the men’s crimes.

A gentle, loving, noble, angry and heartrending film.

With enjoyable characters and smart dialogue, French-Canadian director Monia Chokri makes her dilemma a very entertaining ride.

As always, Tarkovsky conjures images like you've never seen before; and as a journey to the heart of darkness, it's a good deal more persuasive than Coppola's.

Not every performance is assured – though Nina Ye is consistently impressive – and the script includes perhaps one twist too many. Yet Left-Handed Girl remains a sensitive and affecting drama that avoids sentiment in favour of more grounded emotional truths.

An ingenious script, excellent special effects and photography, and superior acting (with the exception of Francis), make it an endearing winner.

Sensitive parents shouldn't fret; this is the kind of grim fairy tale, equal parts midnight-movie macabre and family-round-the-hearth compassionate, that scars in all the right ways.

Comfortably Linklater’s best movie since Boyhood, Hit Man stands alongside School of Rock for big laughs and good vibes – albeit with a darker streak that slowly kicks in.

The film has three amiable leads and doesn't overstay its welcome.

The strength of the film is its vision - cutting, compassionate and sometimes hilarious - of what it means to be Asian, and British, in Thatcher's Britain.

The movie does an uncommonly sensitive job probing the psychologies of blocked men, less so the urges of a widow who needs more than comforting words.

This is humanistic drama done right.

You still leave hoping he ultimately found peace and enlightenment, two things he graciously gave to those of us who hung on his every word.

Diehl and Pachner are both terrific, mastering Malick’s improvisational style and bringing earthy authenticity to its playful family moments.

Mothering Sunday isn’t exactly a cheery watch, but it’s an intelligent, affecting British drama with a splash of French sensuality.

Part drama-thriller, part OTT slasher, Pearl doesn’t particularly resolve its internal conflicts, but it does hold the attention.