If “Spaceship Earth” is meant to persuade us of anything, it is to think of the Biosphere 2 endeavor less as a biological experiment and more of a philosophical one.

By itself, the premise is surely too dark to believe as something made for kids, but visual gags consistently restore our suspension of disbelief.

This isn’t an effusive romance with deep sighs and skyward glances, but Sciamma depicts the affair in its bitter simplicity anyway, exulting in its sheer existence.

“Vivarium,” with its axe to grind with all of society, spouts over-simplified truisms like a know-it-all who read a Kafka story once.

“Emma.” is quick and vibrant, as well-composed as a Dutch painting and as entertaining as a sitcom.

Even for standard cinematic product placement, two separate references to the Olive Garden is excessive.

“1917” is heavy and bitter, the weight of its unbroken take becoming, eventually, the unbearable weight of war itself.

Gerwig knows how to get the most out of a scene, how to build a story upwards and outwards into a unified and irreducible whole.

Assembled together, as they are periodically throughout the movie, the cast surely enter the canon of great cinematic dysfunctional families.

“Jojo Rabbit” has a well-honed sense of fun, but it never loses sight of the stark madness on its periphery.