David Edelstein

Viewed under quarantine, Spaceship Earth has a visceral kick.

Annie Silverstein’s Bull doesn’t jerk you around. It doesn’t Go for It. It’s quieter and more pensive than a glib summation (or a trailer) would suggest, but it never goes soft.

Our Mothers (which won the Caméra d’Or at last year’s Cannes Film Festival and is available to watch on demand beginning May 1) is the sort of movie that gets lost in the U.S. when life is normal. It’s a good one to see when you’re anxious, in pain, hypersensitized, uncertain of the ground beneath you, and thinking — maybe for the first time — that you ought to start digging.

If I’ve made Robert the Bruce sound laughable, I’ve misrepresented it. It’s not bad at all. Though he is unusually uncharismatic, Macfadyen (who co-wrote the script) is an excellent actor, and Richard Gray directs ably. But that word — “ably.” I never used it before. It’s the bottom of the neutral zone, before you dip into negative territory.

The idea is that vulnerable women will give up their autonomy — their very identities — to such an entitled being, which I found a stretch but which certainly has historical precedents. It’s best to view The Other Lamb as a rite-of-passage fantasia with a gossamer heroine.

An inspirational civil rights documentary that sounds as if it’s going to be Good for You rather than good, but it actually turns out to be both — as well as surprising, which is surprising in itself, given that inspirational civil rights documentaries tend to be more alike than unalike.

Garbus brings off something extraordinary in a film that sets out to leave us sad, enraged, and profoundly unsatisfied. Lost Girls makes us want to rethink our need for a certain kind of closure in a world that has so little of it.

This haunting movie transports you to another world — and redefines home.

A brief, sad little piece that doesn’t quite hurdle the blood-brain barrier and rattle you to the core, but it does achieve a half-sublimity, thanks to coastal settings with white cliffs that inspire both awe and thoughts of flinging oneself off, and also thanks to poetry.

The style is immersive, meant to envelop us and bring us into the story, but it ends up making the movie feel abstract and distant. And there’s a void at the center.