What might be best about I Am Greta is a related theme woven throughout the film. She speaks to the camera frequently, frankly, and without embarrassment about her experience of having Asperger syndrome, a neurodevelopmental disorder she refreshingly sees as a positive rather than a negative.

The film’s revelations are two-pronged: They uncover much about the Hasidic community, while also more broadly exposing how insular groups keep people in and everyone else out. It’s hard to leave, even when staying is impossible too.

It might be the most perfect Hollywood summer blockbuster ever made. Not the best, mind you.

A Quiet Place is the best kind of horror movie. It toys with how we hear the world around us, in ways that are startling and creative and tense.

Elegiac and lovingly wrought, If Beale Street Could Talk is darkness laced with light, a story that has not stopped being true in the years since it first was told.

Directed by Natalia Almada and scored by the Kronos Quartet, the film feels a little symphonic, a mesmerizing exploration of how technology is transforming the ways we relate to the natural world.

It’s funny. It’s uncomfortable. And it feels real and lived-in, right to the bone.

Marwencol brings you into Hogancamp’s world as a guest, and as his story slowly unfolds, you come to understand what these stories really mean to him and to his mental health. It’s a quiet, extraordinary film.

By letting the past speak for itself, The Reagan Show stays both sober and light on its feet.

With its risky visual storytelling and tender script, Into the Spider-Verse earns the greatest honor that one can bestow on a Spider-Man movie: It somehow makes you want to see more Spider-Man movies. Including at least a few more for Miles Morales alone.

Craig Gillespie’s take on Tonya’s story, the hilarious and gut-punching I, Tonya, is a nearly pitch-perfect black comedy that distills the sensational story into two potent insights very relevant to 2017. It’s a movie about class, and it’s a movie about the nature of truth. And somehow it’s also a supremely entertaining sports movie.

It strikes a perfect balance between being a coming-of-age story nestled in a family narrative on the one hand, and a social drama on the other. And in never sacrificing either of those two interests, it becomes a strong example of both.

Muschietti’s largely faithful adaptation of King’s story relies not on nostalgia for its emotional underpinnings, but rather a keen sense of the present moment in all its deep tensions and ugliness.

For the most part, though, Deep Water has abandoned thought and logic for horny, unhinged vibes. It’s so much beautiful fun.

In using all those technical aspects of filmmaking to tell this story, director Andrew Patterson manages to marry form and content beautifully. The tale is engrossing, reminding us that even the simplest technologies we take for granted now have an element of magic to them.

Men is the most visceral and organic dive into the curse of human nature that [Garland's] made yet. But it’s like each of his movies, filling in the question of what it means to be human — and to keep living on this planet — stroke by stroke.

The movie sees Armstrong’s reserve as both a blessing and a curse, a gift and a problem, but it’s unequivocal in its admiration of his humility. And in this way, it feels less like it’s forcing a myth onto the man who made it clear to his biographer that he wasn’t seeking renown — and more like a statement of gratitude.

Its kid-friendly, free-for-all spirit rides atop an undercurrent of pointed commentary about the state of the superhero industry (and the entertainment industry more broadly) that will give those parental guides something to hold on to amid the candy-colored cacophony. Or they could just surrender and enjoy the butt jokes. They’re pretty good butt jokes!

The film is a beautifully empathetic work of art.

Despite his grumpy contrarianism, Monk is an intensely lovable character. In part, that’s thanks to Wright’s gleeful, nuanced performance; in part, it’s because Jefferson shows us all of who Monk is.

The movie is a pure delight — a funny, fast-paced, heartfelt story of a friendship and a weird dream. Impressively, it will satisfy fans of The Room while remaining completely accessible to those who’ve never seen it.

Though the movie isn’t perfect, particularly in how it underuses some characters and gifted actors, those complaints are easily overridden by distinct moments where charm, oddity, and spectacle collide to create the kind of soul-soaring magic that Marvel at its best is capable of.

Kurzel favors stylized images and the occasional anachronistic metal track to provoke a mood more than faithfully recreate history. And his approach works well in this film, bolstered by a strong cast, which features MacKay, Russell Crowe, Nicholas Hoult, Charlie Hunnam, Thomasin McKenzie, and Essie Davis.

The movie works best, above all, as a melodrama about the limits and possibilities of love, and how love can make us into the best and worst versions of ourselves in the very same moment.

In addition to the absurd stunts and convoluted plot machinations, what makes the Mission: Impossible movies work in general, and Fallout in particular, is that they let their characters be characters, driven by a number of complex factors, even when they’re chasing an enemy or trying to get out of a scrape.

The result is a realist tale about labor, class, and cruelty, while also being a moral fable with a fantastical core.

The Ballad of Buster Scruggs is a tall tale about death, a murder ballad about us, trapped in a universe that is mostly unreasonable and nonsensical. And at the end of the journey we’re left laughing through the lump in our throat.

If Hollywood is going to make “now more than ever” movies, this is the way to do it: with a marvelous cast, pitch-perfect design, and a story that feels like the work of latter-day Frank Capra. The Post is an act of goodwill and faith in American institutions, but it’s also aware of how fragile those institutions are, how dependent on their participants they are for their survival, and how much is at stake when press freedom is threatened.