Roland Emmerich's "Moonfall" contends that the moon is hollow, and sends it tumbling from orbit. Is the movie itself hollow or solid? A question for the ages that will nonetheless be answered here.

"Lunana: A Yak In the Classroom" is Bhutan's international-feature entry for the Oscars. It was shot at extremely high altitude with extremely modest resources, yet the result is affecting and thoroughly delightful.

In "Who We Are: A Chronicle of Racism in America," the documentary filmmakers Emily Kunstler and Sarah Kunstler conjure with surprising concepts--including the weight of cotton--to show how and why racism is, in their words, "our shared history."

Steven Spielberg's "West Side Story" starts with three annunciatory notes of the greatest score ever written for a Broadway musical comedy. What follows is partly a rethinking of the basic material, and a redressing of wrongs represented by the casting of previous productions, which was never representative at all. Mostly, though, it's an exultant new version of an American classic. 

Paolo Sorrentino's "The Hand of God" is much less serious than it sounds, though far from frivolous. It's a fond and funny piece of autobiography about his coming of age in 1980s Naples. 

"Cmon C'mon" is all over the place, like the 9-year-old at the center of Mike Mills's unusual road movie, but it's a special pleasure that manages to be simultaneously serious and marvelously funny.

In "Belfast," Kenneth Branagh's semi-autobiographical evocation of his childhood in Northern Ireland, the filmmaker, stage actor and writer is a bright-faced 9-year-old struggling to understand the sectarian violence raging around him and his tight-knit family.