Bill Goodykoontz

Powell and Arjona have electric chemistry. It’s a joy to watch their back-and-forth — not quite the banter of classic screwball comedies, but close.

Schoenbrun’s direction is masterful, both in terms of what they get out of the actors (Smith and Lundy-Paine give committed performances) and in their visual language. The look of the film is both haunting and inviting — not unlike that of a nightmare, or a horror film. “I Saw the TV Glow” has elements of both, and more.

If you stick with it, Evil Does Not Exist offers rich rewards, as well as lessons, no matter how inscrutable at times.

More brains and less brawn probably isn’t a prescription for box-office success for a movie like this. But it’s a movie I’d rather see.

The Last Stop in Yuma County is a promising debut, and a welcome chance to watch some actors you’ve seen in other things get a chance to branch out a little. It’s dark fun, assuming you find watching escalating tension a good time. And why wouldn’t you?

It is incredibly stupid. Gleefully stupid. Relentlessly stupid. It’s also really funny. Is it any good? That does not seem to be a major consideration.

The Fall Guy isn’t exactly Oscar bait. Which is fine. Instead, it’s the rare movie that succeeds on its own terms, doing exactly what it sets out to do, which is entertain its audience.

It’s nobody’s masterpiece, but it is an exceptionally promising start for Mohr, making his feature debut as a director.

It is scatological in the extreme and filled with absurdist and slapstick humor, particularly in the early going.

Not at the top of the list, necessarily, but writer and director Kiah Roache-Turner’s film is a solid if unspectacular entry into the eww-gross-spiders category. It’s pretty good on that front. But when it tries to wedge in some version of Meaningful Family Drama, it loses its way a little bit.

Between the galloping pace of the action and the percussive soundtrack and sound editing, you remain tense the entire time. Garland just won’t let you relax.

It’s not trying to make a grand statement about the world, at least not any more than movies like this do... But it is trying to scare you, and it does.

If the purpose of Girls State is to give high-school students a taste of how government works in real life, “Girls State” makes a case that it does its job only too well.

No one is going to mistake “Road House” for a masterpiece, but it succeeds far better at being what the original film set out to be.

Immaculate goes all in on the yuck, but leaves the rest high and dry.

The whole thing runs through Stewart, and she’s great — just one of those movie stars you can’t take your eyes off.

Javier Mariscal and Fernando Trueba’s film is a lot of things, almost all of them good. It’s a vibrant, colorful, animated movie. It’s a serious documentary about political oppression and violence. It’s a loving exploration of Brazilian bossa nova. The soundtrack is incredible.

Granted, a trip to Jupiter is a long way to go to find yourself, and if this were the Sandler we see in movies like “Grown Ups,” it would be interminable. But with this version of Sandler, it’s a worthwhile trip.

While Drive-Away Dolls is a literal journey, it doesn’t have the sense of reaching its destination in the same way…It’s not a road to nowhere — it’s better than that. But it’s also not the joy ride it could have been.

It shouldn’t work, honestly. There’s too much going on in too many directions at the same time. But Villeneuve brings it all together somehow. We’re more than five hours in between the two films (this one is 2 hours and 46 minutes), and while the lack of a sequel wouldn’t be as infuriating as it was last time around, I can’t believe I’m saying this, but I think I’m ready for more.

Red Right Hand wants to be a kudzu-covered, Southern-fried crime story, a morality tale set in the “hills” as rich as pig knuckles from a jar in a juke joint. Mostly it’s just a dopey mob movie with Southern accents of varying quality — predictable and cliched.

Even at less than an hour and a half, the film is, shall we say, patient in unfolding its story. Part of this is set up, lulling the audience for the shocks to come.

We’re left with some fun, funny and occasionally scary set pieces, but the slices don’t add up to a whole pizza, as it were.

When Argylle is fun, it is really fun. Watching Rockwell and Howard run around the world is entertaining, for a time, but not forever. “Because these things will change,” as Swift sings in “Change.”... Maybe she should have written the movie.

The Zone of Interest, then, serves as a horror story about the past, and a cautionary tale for the present.

I noticed about halfway through it that between laughs I’d been smiling the whole time. “Mean Girls” may not be totally fetch, but it’s still a good time at the movies.

All of Us Strangers, defies easy categorization in the usual fashion. But it’s also easy to place it in one category: that of really, really good movies.

It’s a messy story, but with Mann’s structural rigor imposed upon it. That is a powerful combination, and one that makes “Ferrari” a bizarrely compelling entry in the Mann canon.