“You may think you know my story,” says Mary, having galloped into the movie on horseback. “Trust me. You don’t.”

What separates “Bonhoeffer” from the myriad instructive Holocaust biographies and melodramas is its timing.

“Small Things Like These” is dedicated to the girls and babies who went through the Magdalene laundries, the last of which closed in 1996.

The Vatican of ’Conclave’ is worldly with men’s ambitions and weighty with papal history

My sense of dread over the film “Cabrini”? It was replaced by respect, even joy.

In “Poor Things,” Emma Stone is Adam, in a sense, the product of a modern Prometheus, who will drive men wild. Which is both the funniest and pointed aspect of her picaresque tale.

“Killers of the Flower Moon” makes a case that 80 is the new 30: Martin Scorsese, the most prominent of American auteurs and champion of film history, continues as an octogenarian to explore and expand the possibilities of the medium and scour his own soul.

In ‘The Miracle Club,’ Maggie Smith and Kathy Bates do not expect quick cures at Lourdes, and viewers should not expect a perfect film. But there are some surprises among the clichés.

Abel Ferrara’s Padre Pio is not the hero of his movie.

“Tár” is about power, guilt and the always tantalizing question of whether the art can or should absolve the artist for being who she is.