Andy Webster

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.

It is a competent if sometimes heavy-handed affair, a mosaic of fictitious and underexplored characters who hear the assault but are too self-preoccupied to act.

In Antonio Banderas, Mr. Hudson has a winning de Sautuola of personal modesty, scientific integrity and paternal warmth.

“He can move the mountains.” “I was blind but now I see.” Those lines are but drops in the torrent of clichés saturating Michael John Warren’s narcotizing documentary Hillsong — Let Hope Rise.

The Vessel is a modest, but not maudlin, parable of hope about mustering the strength to vigorously plunge again into life’s uncertainties after a devastating loss.

The Uruguayan director Federico Veiroj’s leisurely comedy-drama The Apostate has its charms, though the story (and its hero) could benefit from a tarter approach.

This film nimbly straddles biography and “Trek” valentine (Adam is a longtime television director), but also recounts the fraught if ultimately devoted ties between Adam and Leonard.

Sure, the new action workout Kickboxer: Vengeance — a reboot of a foot-fighting franchise from the 1980s and ’90s — follows a tiresome martial-arts movie formula. But amid the hoary conventions are agreeable inklings of an alternate sensibility.

If not for Mr. Jones, “Resurrection,” while competently edited, would be devoid of humor, an area where Mr. Statham has shown promise in the past.

Complete Unknown is a curious hybrid, teetering between a thriller and a romance only to land in a nebulous spot that is neither.

Despite her script’s omissions...Ms. DuVall juggles the emotional dynamics with fluid editing and light comic touches. The skilled cast members must flesh out their characters, and the unselfconscious Ms. Lynskey, who invites the audience’s mockery and ends up with its sympathy, is the revelation.

[A] crisp if feather-light documentary.

[A] competent but slight thriller.

It takes Sean Ellis’s World War II thriller Anthropoid a while to build steam, but once it does, hang on.

[A] deft and comprehensive documentary.

Ms. Burdge — all quicksilver emotion and exposed nerve endings — is an endlessly watchable focal point. Her character’s vulnerability, uncertainty and growing self-acceptance lend the movie a necessary gravity.

Disappointing plot twists ensue in a climactic brawl starved for snappier choreography and editing.

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.

Effective topical entertainment, we are reminded, rarely comes without creative conflict.

Fascinating.

You don’t have to be a boxing fan to be awed by Claressa Shields, the first woman to win an Olympic gold medal in the sport. But if you are, you’ll still be knocked out.

In marriage and parenthood, one size doesn’t fit all. Marcia’s words at the wedding about surmounting differences speak volumes about love’s adaptability.

Many of the passages in this gentle film may be universal, but the love here is extraordinary.

The longtime friends Mr. Guzmán and Mr. Garcia have an unforced chemistry. But the effective jokes land too rarely. You’ll be ready to leave when the trip is over.

Len and Company...never strains for profundity. Instead, it savors observational subtleties, especially in Mr. Ifans’s assured performance. For a baby-boomer-meets-millennial family drama, that’s plenty.

The Japanese have a term for a certain type of character in manga (comic books) and anime: bishonen — pubescent in appearance, devoid of facial hair, sensitive, unthreatening. That would be Mr. Espinosa.

A re-creation of the night, with an actress playing the screaming victim while Mr. Genovese observes, is harrowing.

“As I AM” rockets through its subject’s life, teeming with testimonials from the superstar producer-D.J.s Mark Ronson and Paul Oakenfold, among many others. And then it ends, leaving you spent. And wistful.