Schreiber buoys the film with his characteristic blend of nuance and smirking humor, exuding likability though never lionizing the self-described “selfish prick” that he’s portraying.

Yes, Coco thrills with its of-the-moment visual invention, but its core elements dead relatives, family photos, the power of loving memory couldn’t be more timeless. When Pixar made me cry this time, it wasn’t just for the characters on the screen. It was for the people I remember, and the ones I hope will remember me.

South Korean filmmaker Kim Sung-hoon has clearly done his homework while injecting the action sequences with a terrific kinetic energy.

Whereas Creep suggested that the annoying man-child is scarier than you think, Creep 2 shows just how much scarier he gets with age.

Dark feels like a version of Lost folded in on itself, in which the action on the magical, spacetime-traveling Island and the secret-revealing, surprise-laden, character-driven backstory flashbacks all occur simultaneously.

David Lynch, The Art Life will entrance the director’s fans and, who knows, inspire budding, out-of-the-box creators in an artistic coming of age tale, told in his own words and deliberate tones.