The New Yorker

Spielberg’s vision in “Disclosure Day” suggests audacity, even recklessness, two qualities that have often been wanting in his movies. There’s a sense of freedom, of a work pulled from deep within, that in some ways seems even more personal than the memoir-like “The Fabelmans.”

In the end, Koepp’s script exaggerates the best and the worst of how humans might respond to such a revelation, and Spielberg struggles to split the difference between paranoid-thriller cynicism and his usual mode of emotional uplift.

As a genre, “The Little Sister” is a psychological thriller, even a film noir: a tale of a double life, which Herzi constructs with a watchmaker’s precision and an analytical clarity that distinguishes Melliti’s starring performance all the more.

Power Ballad is a sentimental tale of family and friends both fostering and thwarting a dream. It finds an unusually strong current of authentic (if narrow) emotion while leaving wilder ideas and feelings trapped beneath its surface.

An exuberantly inventive but overstretched comedy about the redistribution of luxury goods and the chic that goes with them.

As much as Enyedi enjoys positioning her camera among the branches, Silent Friend is ultimately too invested in the power of human faces and bodies to adopt a purely plant-centric perspective; what it achieves is more of a hybrid gaze, which encourages us to marvel at creation in all its forms.

The movie fails politically to make clear what democracy is up against, and it fails artistically to imagine the unimaginable and give voice to the unspeakable.

Our Land is the work of a great filmmaker exploring the boundaries of a relatively unfamiliar form.

Desplechin and his co-writers have created an enticing set of characters who arouse a viewer’s curiosity not only about their connections to one another but about their relation to the world in which they live. But in “Two Pianos” there is no such world.

The Devil Wears Prada 2 is selling a truckload of preposterous goods, but it sells them awfully well, with unfeigned assurance, conviction, and the appropriate ratio of cynicism to hope.