Make what you will of the story and its symbolism, but Mr. Antal has made a remarkable feature debut with this visionary film, chockablock with memorable images.

No doubt this would flounder spectacularly without gifted actors, but Mr. Jacobs is lucky enough to have three.

Here’s a brilliant idea for a rock documentary: Catch up with a band in the creaky fog of middle age, long after the hits. A certain toll has been exacted, a certain humility achieved, and yet the story is not yet over.

After Love may be a bit thin on story, but it nevertheless shines with feeling.

The worst thing I can say about Rosenwald, a wonderful documentary by Aviva Kempner, is that it tends to ramble. I say it, though, in the spirit of the joyous New Orleans funeral march “Oh! Didn’t He Ramble.” How could Ms. Kempner’s narrative follow anything like a straight line when her subject is so rich and varied?

I can tell you that Ms. Laurent’s direction is astute and economical, that both of the film’s young stars give fine performances, and that Breathe is a very good title for a film that ever so gradually takes your breath away.

Has its share of misfired jokes and pseudo-mythic sequences that semi-fizzle. All in all, though, it’s majestical nonsense that is anything but nonsensical.

His is a special kind of courage, and it impels him to act with special agility in a brave new world of his own making, where little tweets can challenge big lies and a blog post can echo like thunder.

The filmmaking is strong and confident throughout, while Mr. Brummer’s performance is a constant revelation.

His (Takeshi) sense of style is very much in evidence here, and so is his sense of humor.

Given the white-on-white color scheme, I didn't expect so many shades of feeling.

The second half, in particular, exemplifies science fiction at its best: thoughtful, exciting, provocative and pointed. It’s fantasy wrapped around ideological substance, making “Kingdom” the best of the franchise films to make it to theaters so far this year.

Without straining to make an obvious point, Mr. Tomnay uses black comedy and shocking splatters of gore to tweak the class of jaded plutocrats who are as asset-rich as they are morals-poor.

This film, which might have been called "The Fog of Words," isn't haunting, but dismaying. Mr. Rumsfeld is, as always, articulate, energetic and self-confident. Yet his words suggest a paradox — a restless mind with no discernible gift for self-reflection.

In a movie devoted mainly to making you laugh, it’s a plea for tolerance that takes your breath away.

Lovely & Amazing goes to the heart -- and face, and skin -- of a subject that's sure to ring true with women, and may even educate men.

In an industry afflicted by sequelitis, it has taken John Boorman almost three decades to make the sequel to his much-cherished “Hope and Glory,” but Queen and Country turns out to be well worth the wait.

A drama that transcends cleverness. This beautiful film, directed with subtlety and grace by Juan José Campanella, really is about moving from fear to love.

You’ll want to see Zero Days — just not when you’re counting on a good night’s sleep a few hours later. Alex Gibney’s documentary about cyberwarfare is many things, none of them lulling: a thriller, a detective procedural, a startling chronicle of science fiction transformed into fact, and an urgent plea for public discussion of a new way of waging war that could wreak havoc on a scale akin to that of nuclear weapons.

As a witness to some small rectification and the still simmering problems that surround it, Dahomey is at once haunting and humble.

Still, the family dynamics work out beautifully, and Jean’s return also leads to a deeply affecting revelation of his father’s feelings for him. As far as winemaking is concerned, Back to Burgundy is rich in vistas of the fabled côtes; stuffed with oenophile info (who knew how directly de-stemming affects a wine’s structure?) and studded with casual tastings of wines that most of us can only dream of. A 1990 Pommard? A 1995 Meursault Perrières?

The Rover, is anything but lively, though it's long on menace, often violent and consistently fascinating.

A mismatched-buddy movie that's endearing, funny and affecting in equal measure.

Dreamin’ Wild is an elegant appreciation of the many textures of aging, balancing the feel of rhapsodic memories and shuddery regrets.

This unique enterprise, which began as a documentary experiment almost a half century ago, has grown into an inspiring testimonial to the unpredictability of the human spirit.

If a thriller can make you hold your breath for fear of being eaten by aliens while you’re sitting in the multiplex, it’s working pretty well, and “A Quiet Place: Day One” appropriately kept me in a frozen state, afraid to so much as crinkle a page in my notebook.

Chile ’76 subtly illustrates how difficult it becomes to separate the personal and the political in an authoritarian state. As it goes on, it develops from a character portrait into an unusually realistic thriller, with danger asserting itself everywhere.

We’re watching a period piece that feels beautifully and painfully present: beautifully because love stories are timeless, painfully because the spectacle of racial injustice feels up to date.