Elizabeth Weitzman

We watch Misty Green on the edge of our seats, wondering where she will land even as we can guess at the likeliest trajectory.

Tariq works hard to explore the dichotomies of faith and frailty, but Latif is so flawed that this effort risks feeling hollow.

Wilson has worked with fellow documentarian Nathan Fielder, and boasts a similarly skewed view of humanity. But his voice is very much his own – and, arguably, more humane than Fielder’s.

The visuals are strong, which is important when so little is actually happening. And Ullom’s unwavering insistence – that we see their problems, hear their voices, acknowledge the impossibility of a path that was defined long before they arrived – is undeniably compelling. It’s still a tough watch, at times. But if you buy into his premise and passionate urgency, it should be.

One Night Only is so brazenly flirtatious, so determined to seduce, you’ll barely even notice how empty and cheap it feels – until the end, when you’re left alone again.

By stripping away anything even remotely extraneous, [Chiarella's] achieved a palpable sense of gothic anguish. And by casting his leads so perfectly, he’s also made one of the most touching romances of the year.

Ultimately, Carney has constructed a crowd-pleasing wedding band of a movie, but a high-quality one, with a strong lead singer and solid backing. And who doesn’t want to celebrate good times? Come on.

It’s not a perfect movie, but it’s also never, as Lori grudgingly notes about Julian’s work, uninteresting. And in this cultural moment, that’s an authentic win.

Because the movie’s on-the-fly style is as scruffy as its protagonists, it’s easy to underestimate the intelligence and artistry it takes to make something so silly.

It seems impossible for anyone to remain unmoved by Harper’s thoughtfully-constructed history.