It’s unusual to witness real cinematic magic these days, but the Fred Rogers biopic A Beautiful Day in the Neighborhood absolutely has it. Director Marielle Heller (Diary of a Teenage Girl, Can You Ever Forgive Me?) wisely avoids the visual slickness one might expect from a Tom Hanks-centric melodrama, instead employing a lived-in style and scene transitions that consist of miniature cities harkening back to the opening of Mister Rogers’ Neighborhood. Hanks is totally committed to Rogers’ appearance and manner, but A Beautiful Day is more about Lloyd Vogel (Matthew Rhys) a fictional journalist profiling Rogers. (Vogel’s work is based on a 1998 Esquire profile by Tom Junod; as is the case with the film, Junrod’s piece sketches a beautiful yet enigmatic image of Rogers.) Where Heller’s film becomes transcendent is in its cinematic pressure points: The striking slowness of the narrative (it’s meant to emulate the pace of Rogers’ show, and you get used to it), the mirroring of Rogers and Vogel in their interview styles and drawn-out reaction shots, and a profound moment of silence that grips your heart like, “Did that really just happen? Why was that so intense?”