Andy Webster

What distinguishes Fonzy is its attention to Diego’s Galician roots. As his character discovers his offspring and his paternal instinct, Mr. Garcia gives the bedraggled but compassionate Diego an aspect slightly more emphatic than his screen forebears.

Despite an implausible ending devoid of consequence, “Don’t Worry Baby” benefits from tidy editing, cinematography and, most of all, the presence of the seasoned Mr. McDonald and Ms. Balsam. Their nuanced authority — and the vibrant Manhattan backdrop — make the trip worthwhile.

Mr. Nakashima, it must be said, does have a knack for composition. But the torrential, if glossy, violence — he adores juxtaposing innocuous pop ditties with gruesome set pieces — grows tiresome.

Exuberant, busy and sometimes funny, DreamWorks Animation’s Trolls is determined to amuse.

[A] glossy, fawning valentine to conspicuous consumption.

The pieces don’t entirely cohere, but Ms. Smith has a promising sensibility.

The filmmakers, largely forgoing a soundtrack, skillfully manipulate stillness, silence and anomie to unsettling effect.

Given the audacity, gusto and hell-for-leather filmmaking on display, the prospect of subsequent installments does not seem unreasonable.

A savvy exercise in inspirational feel-good cinema lightly seasoned with grit.

This frenetic movie has moments of wit, and Ms. Feiffer, a seasoned screen and Broadway performer, has range, stamina and charisma.

In its allegiance to detail, the film is too long and perhaps overstates its case in claiming that later generations have lost an understanding of common courage, as depicted by these two artists. Their work endures, and so does what they stood for.

This is a movie that drops quotations from Faulkner and Einstein, but it rarely feels pedantic or platitudinous, thanks to the breezy, assured delivery of Mr. Khan.

Having painted Victor as a transgressive offender, Mr. Senese backpedals furiously with a coda asserting the potential rewards of genetic manipulation. It isn’t convincing.

Though the script tilts to the didactic, the performances are absolutely delicious, with Mr. Meaney droll and understated and Mr. Spall fiery and derisive, yet not above a joke.

Ms. Kendrick — whether playing daffy, amorous, insightful or indignant — carries the movie. And her surprising shades of grit don’t hurt, either.

Ms. Shaye gives Insidious more than sufficient reason for a Chapter 4.

Revelations unfold predictably, but the subplots cohere and the assured pacing offers a stark contrast with the often disjointed tempos of Mr. Perry’s mosaics.

The luminaries in “21” pay deserving tribute to Mr. Linklater. Soon, perhaps, so will the Academy

A Lego Brickumentary might be a resounding cheer for a brand, but it’s an eye-opener, too.

The diagrammatic script, by Jarret Kerr, has wit but could sometimes use more nuance. But there are tasty performances.

The find here is Alexa Nisenson as Georgia, Rafe’s know-it-all little sister, who takes cars out for a spin. She is blessed with the best lines, comic and dramatic, and appears delightfully cognizant of the fact. If only the movie had more of her.

A lively closing dance sequence, after an earnest, underwhelming climax, pays affectionate tribute to Bollywood production numbers. But you won’t find Mr. Chan’s customary bloopers over the closing credits.

[A] competent but slight thriller.

Closure may be missing, but at least glimpses of promising Canadian performers are in abundant supply.

Desert Dancer explores fascinating aspects of present-day Iran but suffers mightily from simplistic and sentimental tendencies.

Narrative depth may be in short supply, but the energy, invention and humor are bracing.

The horror anthology has a long tradition, going at least as far back as the British classic “Dead of Night,” in 1945. The best offer surprise endings or a sense of humor. You won’t receive much of either here. Just vertigo and maybe a wicked case of induced attention deficit disorder.

Mr. Piazza offers a persuasive portrait of decline, but it is the crumbling beauty and flailing hopes of Rose that resonate. Ms. Arquette comprehends the character inside and out, and her aim is true.