Our name is Luca! Or at least we wish as Luca Guadagnino delivers an emotionally transcendent story in Call Me By Your Name. As he brings us to the early 80s and drops us in Northern Italian lakes and streets, we frolic and savor. But we leave in bits.

Elio (Chalamet), the professor’s son, is as carefree as they come, as he will explain. Oliver (Hammer) is the American invader without self control, as played out with a soft-boiled egg, and somewhat of a muse. Elio’s relations with Marzia (Garrel) are culminating while he is enamored with every encounter of Oliver. In the picturesque and uninhibited environs of Lombardy, and certainly the outdoor dinner table, the narrative triangulates with these three characters. But we also remark highly of Mr. Perlman (Stulhbarg), Elio’s father and subtle observer throughout, who delivers an unforgettable articulation of love for his son.

The film is as linguistically gorgeous as it is scenic. Chalamet’s talent bursts with flawless transitions between English, French, Italian and even Bach as he expresses himself and his faint reticence with Oliver. Call Me By Your Name screams into the Film Clas Elite with 4.89 napkins out of 5.

Yonebayashi beguiles as Mary and The Witch’s Flower blossoms into a wonderful narrative filled with complicated mystery and beauty but also a trademark caring simplicity. And we all can take solace in the rhythm and continuity displayed by Studio Ponoc.

Mary is a brazen child; impulsive yet unintentionally clumsy and admittedly upset with her miscues. She feels alone but lovingly cared for by her great-aunt Charlotte as her parents and other children are away. While waiting for familiarity to arrive, she wanders, against the advice of her adversarial new friend Peter, into the misty woods where even her infuriating red hair will become complimentary. From there, it’s the brilliant story of discovery leading to adventure to be illuminated by realization that warms the soul.

Mary is supported magnificently by a diverse cast, perfectly surly cats and stunning visuals. A recurrent and punctual broomstick handler, Flanagan, amuses with every pop-up encounter while mantras of greed and genetic manipulation eerily creep up throughout. And the special acknowledgement of Mary Stewart’s book, on which the film was based, was well placed.

Here, we marvel at the true creatives in storytelling as Mary and The Witch’s Flower charms with 4.88 napkins out of 5.

We, Film Clas applaud I, Tonya as we rubberneck the redneck drama of this incredibly captivating story revisited in a Christopher Guest-like manner. And it is intentionally uncomfortable and wholly entertaining.

Here, Craig Gillespie was able to maintain a fresh continuity and flow using timely narration, fourth wall breaks and hilarious but factual interviews. That said, the film cannot lace up its skates without LaVona (Janney), Tonya’s (Robbie) mom. Anxiously believable, LaVona is demoralizing and disparaging yet parental in affording opportunity for Tonya. And Janney and Robbie are just the stubborn and visionary pair that spark this darkly comedic story.

Gillooly (Stan) and Tonya are tragic but as time passes, and her success goes global, she garners sympathy for her ham-handed personal life. Gillooly is idiotic and self-inflicting, especially in keeping the company of personal operative Shawn (Hauser), so we cannot wait for their downfall. But, independently, Tonya lands the Triple Axel and we joyfully leap from the emotional Sit’n Spin we are circling on the entire film. And Maddox (Cannavale) reminds us of the special insanity of the moment.

The judges from Vermont award I, Tonya with elite status and 4.78 napkins out of 5 for technical entertainment.

Greta Gerwig’s transitional tale fails to take flight as Lady Bird lays an egg in quite a disappointing flutter. And, as we searched for the comedy amidst the trivial, we could only roll our eyes as not even DMB could save this film.

Christine “Lady Bird” McPherson (Ronan) hams it up throughout the story drawing more angst than sympathy. Yet, as we would like to believe, it wasn’t Ronan’s fault this time. Gerwig overdevelops Christine, meaning, in a 93 minute movie, we were deluged with multiple bits of forced drama in checklist fashion. And, unfortunately, this multitude of defining and cliched familial or social themes watered down the final film, ironically or not. Also, we had high hopes for Marion (Metcalf) who was virtually hamstrung; unable to spread her impeccable impromptu wings of sarcasm while buried in the unappreciated mom role.

As the film progresses, there is merit in the relationship between Lady Bird and Marion with Larry (Letts) involuntarily refereeing the endless antagonizing. But it leads to the some of the worst concluding minutes in cinema. We did not like or love this film as Lady Bird migrates south in our ratings, tallying only 1.79 napkins out of 5.

Simply, Sir Gary Oldman, hardly even recognizable, illuminates Darkest Hour with spirit and a gurgly oration. And, as the external intensity is ramping with every passing minute, we are buttered with the kindness, indulgence and humor of the incomparable leader. It’s fairly surprising.

Churchill (Oldman), trumpeted by the public, was unpopular in politics, humorously unwelcome by royalty but unanimously lauded for military intelligence; a trait surely on display from the moment he took office. Oldman, our genius vocal chameleon, ideally articulates the necessary insubordination as Churchill’s defiant speeches invite us to the House of Commons with the transporting feeling of precision reenactment.

The contrariety of the two Churchill’s portrayed gives the film its character. We have read the inspirational quotes but Clemmie (Thomas) awakens the mellowness and compassion in the family man. Pardoning some of his messy qualities, she displays unconditional love and composes him and, in turn, stabilizes the picture. And who can forget the comedy between a naive Churchill and his secretary, Elisabeth (James).

While the London Underground scene seemed fantastically staged it didn’t devolve the film altogether as we still appreciated the public engagement. Churchill never gave up as Darkest Hour surrenders 3.98 napkins out of 5.