In scene after scene, meaning sneaks in and sometimes roars.

That Ms. Farahani found Mr. Mohassess and persuaded him to share his story is a terrific coup, even if a great deal of his life's work remains elusive.

André Bazin wrote that art emerged from our desire to counter the passage of time and the inevitable decay it brings. But in “Boyhood,” Mr. Linklater's masterpiece, he both captures moments in time and relinquishes them as he moves from year to year. He isn't fighting time but embracing it in all its glorious and agonizingly fleeting beauty.

NOTHING SHOULD BE TAKEN FOR GRANTED IN 'EVERYONE ELSE,' WHICH IS AT ONCE LAID-BACK AND RIGOROUSAbout the world we create when we fall in love, and how we navigate the space between us and that separating us from everyone else.

By focusing on such a narrow slice of Nepali life, Ms. Spray and Mr. Velez have ceded any totalizing claim on the truth and instead settled for a perfect incompleteness.

American commercial cinema has long been dominated by men, but I don’t think there has ever been another time when women have been as underrepresented on screen as they are now. The biggest problem isn’t genuinely independent cinema, where lower budgets mean more opportunities for women in front of and behind the camera. The problem is the six major studios that dominate the box office, the entertainment chatter and the popular imagination. Their refusal to hire more female directors is immoral, maybe illegal, and has helped create and sustain a representational ghetto for women.

There isn’t anything good to say about Kick-Ass 2, the even more witless, mirthless follow-up to Kick-Ass.