Though beautifully made and acted, The Souvenir had the sad, chilly pallor of a centuries-old miniature portrait, a bit of the past you could hold in your hand and yet never fully grasp. The Souvenir Part II puts the earlier film in a bigger, more detailed frame, rushing in with swirls of context, color and perspective.

An elegantly polished little film.

My Life as a Zucchini is so warm, so alive, that we forget we're watching cartoon figures. And when they belong to us, they're no longer orphans.

Farrell brings extra layers of depth and mournfulness to the classic McDonagh pattern. He’s the character you want to protect, and the one who sends your heart sinking when you see him harden, out of necessity, against the world. He gives The Banshees of Inisherin its soul and its beauty. To look at his face is to understand the half-welcoming, half-unforgiving place known as home.

An edgy exploration of role playing and sexual choice in a climate where all options are acceptable.

There are a few moments when the picture's easygoing pace turns into wobbliness, but these are insignificant compared with its many moments of shrewd insight into the lives of amusingly shaded but very recognizable human beings. This is the kind of small, star less film that big studios sometimes do not know what to do with. Audiences should have no such difficulty. They will, if they have any sense, simply cherish it.

The picture is more than a brilliant exercise in moviemaking techniques; it is also a blistering commentary on Hollywood manners & morals.

The most mature and satisfying work in a glittering, consistently surprising career.

This is a much colder film, with austere aspirations — not fully realized — to transcend its melodramatic origins and to become an authentic tragedy. … As Michael plots his careful, lethal moves, the recurring, unforgettable image is of his eyes growing colder, until they finally go dead to the horrors around him.

t's a movie for adults -- if they can keep up with its careering pace -- and, yes, you can take the kids. It juggles a '90s impudence with the old Disney swank and heart.

The rhythm of rural life has rarely seemed so lucid and luminous.

A brilliant exercise in popular but palpable surrealism.

A contemplative crime drama with a high startlement quotient.

With Gloria Bell, Lelio revisits a story he’s told before: It’s a close remake of his 2013 Spanish-language film "Gloria," starring the superb Chilean actress Paulina García. Both films are terrific, but with Gloria Bell, Lelio may have buffed out a few rough edges; the new picture feels subtler, more shimmering.

The whole rollicking adventure zips along a mile a minute.

To see this movie in the theater is a special, shuddering pleasure, a tilting-at-windmills affirmation of what movies, seen big, can mean. This is movie as black magic. To give yourself over to it feels a little dangerous. It also feels great.

Ornamented with some bright and lilting tunes, it is a lively feature-length Technicolor excursion into a world that glows with an exhilarating charm and a gentle joyousness.

Director Ursula Meier's Sister is a penetrating study of familial bonds, quietly devastating in parts, beautiful on whole and destined to make you fall in love with a practiced and entirely amoral preteen thief.

It also accomplishes that rarest achievement, the breathing of life into an ossified art form. The '70s has its first great epic.

A bit much? Yes, but it's meant to be. Like Doctor No and From Russia with Love, the two previous Bond bombshells, this picture is a thriller exuberantly travestied. No doubt Goldfinger's formula for box-office gold contains entirely too much brass, but who cares? In scene after scene Director Guy Hamilton has contrived some hilariously horrible sight gags.

Whatever city this one is showing in...move there.

Glover, as usual, is phenomenal.

Spielberg's sharpest, brawniest, most bustling entertainment since "Raiders of the Lost Ark" and the finest of the season's action epics.

It twists it, shakes it and stands it on its ear. But as before, the film's technical brilliance is the least of its appeals. Satirically acute, intricately structured and deftly paced, it is at heart stout, good and untainted by easy sentiment.

This being a Tarantino film, the conversations are as long and lurid and finely choreographed as the martial-arts set pieces.

Although Dumbo offers no startling innovations in animated cartooning, it is probably Disney's best all-round picture to date. Though it lacks the bomb-burst novelty of Snow White, its craftsmanship is far beyond that memorable fairy tale's. Seldom has Disney articulated his characters so aptly. Dumbo is a most human little fellow, not bright, but willing.

All in all, Nurse Betty is a wonderful movie, unpredictably alive to the fact that the American citizenry is a lot stranger than we like to admit.

Wu is a fine, supple tabula rasa; McGregor (Trainspotting) shows again that he is one of the boldest, most charming young actors.