Less is definitely more, and silence speaks volumes in writer-director Colm Bairéad’s impressive debut.

A droll comedy/drama of an Arab village in Israel stuck in limbo.

A “message movie” that acts against expectations in how it explores the necessity of forgiveness.

A romcom weepie that knows it’s a romcom weepie. It even references famed tearjerkers like Terms of Endearment and Beaches.

A surprisingly dull interpretation that is never as modern or steamy as it aims to be.

Zoe Kazan and Carey Mulligan are terrific as the new and equally charismatic versions of Dustin Hoffman and Robert Redford in this feminine (and feminist) answer to All the President’s Men.

A stimulating example of giving-it-all filmmaking for art’s sake that might not be perfect or cohesive, but it’s restless fun and uncompromising.

Claire Denis’s latest is wobbly, sometimes mesmerizing, but meandering, though it features one of the year’s best musical scores.

The performances certainly carry On the Come Up’s weight, but its pacing less so.