Walter Addiego

A big, juicy bone for canine-focused humans, but much less of a treat for others.

The overall mood is out-and-out misty-eyed, a feeling emphasized by the movie’s piano score. Ramen Shop has some flaws — the movie jumps jarringly back and forth in time — but voluptuous closeups of delightful dishes like chilli crab make up for a lot.

Too much of what we see feels contrived and ham-handed.

Transit has a hint of science fiction, and more than a hint of Kafka. And despite the story’s link to World War II, it’s clear that Petzold wants it to resonate with today’s immigration problems.

Costner’s performance is mostly monotone, but Harrelson has some nice moments portraying Gault as surprisingly reflective.

An exceptionally fine movie that plays out on a large and leisurely scale.

The movie’s sympathies are with Halla and against the climate-change deniers, but it also sees something slightly ridiculous in her David-and-Goliath actions. What sets the film apart is how it balances both this sense of irony and an abrupt plunge into serious personal matters stemming from a forgotten decision Halla made years ago.

An appealing Brazilian animated feature, and it’s conveyed in a handsome, expressive style that’s pleasing to watch.

A relentlessly quirky British comedy-drama that demonstrates why more is not always more.

Joner is a capable actor, but he’s required here to remain for such a long time in a one-note condition of mental fragility that our sympathy for the character starts to give way to exasperation.

Although it’s good to have a critical accounting of his role in modern American politics, most of what we see here has been reported elsewhere, and this documentary seems aimed at rallying the troops.

The old “Shirkers” is gone, but long live Tan’s new version.

In At Eternity’s Gate, Dafoe often works in silence, but tells us everything we need to know with his face and eyes.

A new documentary, The Great Buster: A Celebration, shows us why he inspires rhapsodies from critics and film historians, and would be a fine introduction for those who don’t know his work.

The movie works by stringing together many small observations to develop a portrait more quiet and revealing than many overwrought films that strain to address hot-button issues.

In the end, there’s some naughty, voyeuristic fun to be had from Studio 54, but the bottom-line story of the club — assuming that is of value — is still to be told.

All the women are good company, but in some ways Dench is the star of the show. She laughs often as she kibitzes with the others and seems not at all in awe of herself.

There’s much of value to be had along the way to a nicely handled ending. It would be a mistake to call it a surprise, but it’s something that few viewers are likely to expect.

Ari Gold’s The Song of Sway Lake is saturated with a kind of melancholy nostalgia, and viewers who can accept that will find other virtues as well in this flawed film. It’s a story of familial unhappiness passing down through generations, impressive before it begins to lose focus.

While there are entertaining segments, and even a couple of comedic touches, in the end the film isn’t convincing, and parts have a paint-by-the-numbers feeling.

While Pick of the Litter can’t be described as innovative, it still creates a solid emotional punch when we see several of the five now-grown dogs finally matched with grateful humans. It’s quite moving to hear the recipients detail how liberating it is to have the assistance of one of these amazing animals.

Although it has its merits, Operation Finale — which recounts the 1960 extraction of Adolf Eichmann from Argentina and his delivery to Jerusalem to stand trial — fails to measure up to the deep historical impact of the events it depicts.

It would be wrong to say Close’s performance in The Wife is wasted, but it certainly deserves a better movie.

The film has its flaws, but after watching its catalog of shifty hedge fund types, Kardashians, plastic surgery addicts, bling-laden rappers and children of Hollywood royalty, you can’t help but agree.

Graizer takes his time and never feels the need to spell everything out, and The Cakemaker is a testament to what filmmakers can achieve when they trust the audience.

It may surprise you to hear that in the end there is a sliver of hope offered in Under the Tree, so thin that it’s almost not there. A less interesting movie might simply have served up a headlong plunge into the abyss — but Sigurdsson gives us a tiny flicker of light.

As an antidote to the frenetic nature of a lot of children’s TV of the day, Rogers preferred a measured pace on his show, and even made judicious use of silence. These are just two of the numerous gifts given by this extraordinary man to the children lucky enough to have watched “Mister Rogers’ Neighborhood.”

The overall tone is awed and laudatory, which may rub some viewers the wrong way. Willem Dafoe delivers narration taken from Robert Macfarlane’s “Mountains of the Mind,” which occasionally strays in the direction of the trite or overwrought.