Aisha Harris

Jinn may end a little too neatly after challenging so many of the conventions of its genre, but it’s easy enough to look past.

Once it finally begins to focus on the mission, however, This Changes Everything not only becomes engrossing but reveals itself as a crucial cri de coeur.

If the story is familiar, the storytelling can be immersive — Batra shades in the leads and their worlds with a human specificity that makes Photograph compelling in a slice-of-life way, particularly regarding class in India.

While the story plays a bit with the notion of the supernatural, the spirit foregrounded here is more tangible: an ominous sense of restlessness and curtailed dreams.

The combination of clever concept reflecting the prevalence of screens in everyday life, and the pleasure of watching a typically underused Mr. Cho take on a meaty lead role make Searching a satisfying psychological thriller.

This might seem a quaint revelation, but it proves to be a powerful one. Learning that even Mr. Rogers questioned whether one man could make a difference is both heartening and saddening, enough to bring out in the viewer an overwhelming mix of emotions.

A uniformly excellent cast and some genuinely moving moments make Landline easy to fall for.

Girls Trip more than delivers what its audience is looking for.

While much of the original script remains the same, screenwriters Steven Chbosky and Evan Spiliotopoulos, as well as long-time Disney composer Alan Menken (who also wrote for the original, along with the late Howard Ashman), sprinkle in just enough new material and character development to help it feel fresh.

This is the essence of Get Out, which only grows more darkly relevant as the main story gets going, masterfully unfurling all of the real-life anxieties of Existing While Black while simultaneously mining that situation for all its twisted absurdity.

Lee has managed to again make a movie worth debating, wrestling with, and maybe even hating, depending upon how you feel about him as a director.