Alonso Duralde

For a film about repetition, Edge of Tomorrow never feels tired or familiar.

Yes, Godzilla: King of the Monsters is ultimately a Saturday matinee writ large, but that’s nothing to sneeze fire at; countless big, expensive action movies fail at making their way into a viewer’s pleasure center, but this one knows exactly how to be, in the truest sense of the word, sensational.

If you’re put off by the filmmaker’s previous work, then the autobiographical Sing Street isn’t going to be the movie that wins you over. But fans of Carney’s lush romanticism and hook-laden lyricism will be thrilled to add this one to their playlist.

We get lots of films about weddings and about courtship, but this is one that actually takes the time to explore the essence of the marital partnership, and the delicate balance between expressing your own wants and needs while also devoting yourself to fulfilling your partner’s wants and needs.

Blade Runner 2049 isn’t about what happens; it’s about what this terrifying and beautiful world — how could it not be, with Roger Deakins behind the camera — tells us about life and perception and reality.

Overall, it’s an impressively mounted film, from the seamless visual effects to the score by Justin Hurwitz, which is flexible enough to accentuate both the film’s tension and its earthbound humanity, to the always exquisite editing by Tom Cross (“Whiplash”), which plays a key role in establishing the characters, the stakes and even the passage of time.

Even if you think you’ve seen this movie before, Headland’s gift for outrageous dialogue... and Sudeikis and Brie’s comic chemistry make Sleeping with Other People a treat from start to finish.

Hou’s brand of reserve might not be for all audiences, but arthouse admirers of cinematic stillness will find themselves enraptured by this hypnotic tale.

The White Tiger illustrates the extremes to which the poor are driven to violate the rigid class structure of India, with the implication that our hero and his methodology is perhaps the face of post-superpower capitalism itself.

If anything, and this is a compliment, the film frequently feels like a charming teen road-trip comedy that occasionally turns into a superhero movie.

It’s no easy thing to mine humor out of historical tragedy, but El Conde finds a zone that allows for rueful chuckles over humanity’s cruelty without ever being glib about Chile’s dark past.

There are, of course, countless prisms through which to examine the events of 9/11 and their lingering impact, but Come From Away offers one that is stirring and funny, moving but never mawkish. It’s a story that provides hope without turning its eyes from despair.

For those looking for regrets or profundity, Iris doesn’t dig particularly deep in that regard. But if you want merely to revel in the life of a singular figure who approaches her look and her life very much on her own terms, you’ll be charmed and delighted — and maybe even inspired to try something risky next time you get dressed up.

While the digital effects are undeniably contemporary, Crimson Peak is otherwise a period homage that mostly plays like a period film, rarely giving in to contemporary notions of pacing and payoff. When the scares do arrive, however, they’re effectively unsettling.

While Let Them All Talk doesn’t quite have the snap of Soderbergh’s “High Flying Bird,” it’s just as much a film of ideas about talent and commerce and the responsibilities of the rich and powerful. And with a cast as talented as this one, the title itself provides a guidepost for how to tell this story.

“Raise Hell” reminds us of the never-ending importance of those skilled observers with the ability to speak truth to power. And if, like Ivins, they can make us laugh while doing so, then they’re all the more essential.

Between Lohan’s impressive return to the movies and Curtis’ defiance of the Best Supporting Oscar curse, Freakier Friday represents an all-too-rare opportunity for talented women on both sides of the camera to demonstrate their chops at big-screen comedy. Long may they freak.

As with “Summer Hours,” Non-Fiction traffics in ideas and concerns without handing out leaflets; first and foremost, this is an empathetic and charming character piece, featuring top-notch actors (Binoche revels in a rare opportunity to be funny) enjoying richly clever dialogue.

The Coens revel in both the glamour and the squalor of post-war Hollywood with a film that more than makes up in wit and flash what it might lack in substance.

Varda by Agnès makes a fascinating roadmap to a life and to a career in art, offering inspiration both for viewers and for fellow creators.

This is sweet, sentimental filmmaking of the old school, but it’s too sincere to get sticky. If “nice” isn’t the kind of adjective to put you off a movie, you’ll probably enjoy Brooklyn, even if you’re occasionally aware of its masterful manipulations.

Most essential to telling this story are Rampling and Courtenay, both of whom convey pages and pages of backstory and emotion with the most fleeting of glances.

Somehow, through the alchemy of acting and makeup and lighting and costuming, all traces of Zellweger are erased, and only Judy remains.

A throwback to an era when “summer movies” represented something distinct from what studios produced for the other nine months of the year, Dead Reckoning offers 163 minutes’ worth of adrenaline and excitement that never overstays its welcome.

Who cares if the story is occasionally impenetrable or if some gags land with a thud when the thrills and the eye candy keep coming at such a breathless pace? Jupiter Ascending doesn’t break the new ground that the Wachowskis have managed in the past...but the film never slacks in its efforts to wow us.

It’s a film as cuddly as Meimei’s panda form, but it’s also a perceptive examination of how one person’s coming-of-age has a ripple effect on those closest to them.

Black Bag is a not-quite-quotidian spy movie. The stakes are the fate of a relationship, not the fate of the world, and all the pieces come together to make human drama even more interesting than potential apocalypse.

Even with its raunchier aspects, the film’s devotion to plotting the course of true love would probably meet with Miss Austen’s approval.