It's beautiful. I loved it. And it broke my heart.

[Kurzel] delivers another warning in the form of a timely American crime story — one that, arriving in theaters a month after the U.S. election, many will deem too late.

The Punk Singer, like the best documentaries, captures more than just its subject, fascinating though she may be. Anderson manages to capture the feel of an era and the excitement surrounding a fresh feminist voice.

Despite small but powerful gestures in the finale, it leaves the audience feeling just as immobilized and powerless as its characters. Labaki chose the title Capernaum because the word was often used to mean “chaos” in French literature. That’s precisely what she presents to us, with precious little relief in sight.

Manages to be both engrossing history and astonishingly germane to present-day political debates.

Elizabeth Olsen delivers an utterly transfixing turn as the title character of this chilling psychological thriller.

There are moments in Dina that invite viewers to wonder whether Santini and Sickles aren’t veering into voyeurism, such as when Dina presents Scott with a copy of “The Joy of Sex” and proceeds to have a conversation about masturbation and other matters.

The wine Coogan and Brydon are opening this time may lack some of the novel fizz of the first one, but The Trip to Italy is like most vacations: a few bumps here and there, but over all too quickly.

My Dead Friend Zoe is straightforward as filmmaking and it’s fairly obvious as therapy, but it comes from a place of deep respect and deeper love, and everyone here honors that.

The picture seems muted, the flower's petals a little brown at the edges.

Throughout the film, it’s Baez who holds the audience spellbound, not just in live performances that remained transfixing from the late 1950s to the 2010s, but in her very being.

Warmhearted and slightly edgy seriocomedy, these sisters experience some pretty entertaining ups and downs. Entertaining, that is, for people who appreciate irony.

Well-made, if rather predictable, new-age melodrama.

In noir, everybody's guilty, and that's one of the pleasures of Joy Ride. The three youngsters aren't exactly innocent.

Testament to the emergence of a visually masterful filmmaker, capable of ingenious, low-tech special effects.

Through some astonishing archival footage and perceptive commentary from Who guitarist Pete ­Townshend, the filmmaker puts the band in its complicated context as both reflector and creator of the postwar British teenage gestalt.

As a winsome glance back, and as a piece of artistic preservation, Stan & Ollie would be enjoyable enough. But it becomes truly transcendent in the hands of John C. Reilly and Steve Coogan, who play Ollie and Stan with intelligence and spirit that go beyond their own uncanny physical performances.

This crafty sociological thriller, set amid the pristine townhouses and lawns of a quiet Reykjavik suburb, builds slowly but surely into a film that feels utterly of a piece with a much wider world.

In the end, police descend on the block at the very moment their presence becomes irrelevant. They misinterpret everything; locals watch as they blame all the wrong people. Soon their flashing lights will drive away, and the block will go back to taking care of itself the best it can.

The Wolf of Wall Street remains one-note even at is most outré, an episodic portrait of rapaciousness in which decadence escalates into debauchery escalates into depravity — but, miraculously, not death.

It's a story with serious human drama that will make you think a little differently the next time you watch your favorite team take the field.

The result is a panorama of European radicalism. Depending on your politics, you may think "long live the revolution" or "curse the day the CIA ended its assassination program."

Cousins succeeds at his main task. He brings back a genius in all his contradictions, and his movies in all their deadly delights.

Dark Horse is earnest, sweet and told with sentimentality, featuring shots of horses frolicking in fields set against beautiful string music by Anne Nikitin. Surprisingly, the effect isn’t melodramatic or overbearing, but disarming and endearing.

Sweet Land is as empty and beautiful as the picturesque Minnesota terrain it's so clearly taken with.

This lively, intriguing and insistently humanistic flight of fancy — imagined conversations between hard-line conservative Pope Benedict XVI and his more progressive successor, Pope Francis — brims with wit, warmth and some tantalizing what-ifs. Whether the fact that it’s mostly pure speculation will get in the way of the audience’s enjoyment will depend on each viewer’s threshold for artistic license.

A mesmerizing documentary.

Trinca delivers a marvelously unfussy performance, rendering her complex character gradually, along with the effects of the opposing forces that tear at her.