Bob Strauss

About Endlessness is like a bunch of Debbie Downer skits directed by Ingmar Begman, just not as entertaining.

Pitt’s all-in performance and an impressive supporting cast supply enough roughhouse wit and Brooklyn grit to hold up scenes that might have otherwise gone down for the count.

That its premise is a fundamentally corny one we’ve seen a million times before is a separate matter, but filmmaker Kuosmanen (“The Happiest Day in the Life of Olli Maki”) and his two lead actors camouflage that well in naturalistic behavior and psychological depth.

One to One: John & Yoko combines the best aspects of Boomer nostalgia with generational overindulgence.

Well, there’s one way for a biopic about a self-loathing, self-aggrandizing, self-pitying and self-involved music star seem different: Make him an ape.

Good looks and brutal action can’t hide the fact that the film traffics in Italian stereotypes with the same impunity as simplistic notions of good and evil.

An atmospheric and, to a degree, challenging mashup of psychological, social and folk horror, Nanny casts a spell it doesn’t put us entirely under.

At the very least, it marks the arrival of a filmmaker with great potential. It also presents a metaphysical vision that’s quite peculiar and not very persuasive if you can’t get on its generous wavelength.

Dialogue, quirky incidents and a general acceptance that this is the unfortunate way life is make this more than just a genre exercise, though hardly a breathtaking grabber of “Get Out” proportions.

Sometimes hilarious and pleasingly intense, “Day the Earth Blew Up” can also be kind of meh. But even when not as clever as its legacy demands, there’s enough of the old aesthetic and eclecticism to make us hope that this ain’t all, folks.

Undergirding it all is a light but ever present tension between living up to the philosophy the men were taught as teenagers and making their way through the realities and compromises of American adulthood. Tran’s not preachy about that, but the filmmaker’s killer move is showing how his heroes’ souls can be as fragile as their aging bones, yet resilient when the situation demands.

By the time “Missing” reaches its truly terrible ending (which makes you wonder if the movie was all just a stealth Apple promotion), the feeling is one of programmed exhaustion rather than catharsis.

The documentary could have used a little more excitement, but “Coastal” leaves us with a lingering notion that we’ve seen something special.

While it’s not always as sharp as it could be, the energy in Jolt never falters, and there are definitely amusing bits.

The thing that may be most chilling about “Master” is how its three protagonists want and need to support one another but ultimately cannot due to internal as well as external forces.

Enola Holmes films are too concerned with chases, romance and flattering their target audience to even consider challenging anyone’s puzzle-solving abilities.

The Rip is another one — efficient for what it is, but if it’s remembered at all it will be for Damon and Affleck’s matching beards and effortless way of appearing at home together onscreen.

Free Guy is an ode to independence, creativity and the nicer aspects of anarchy.

The film is worth watching thanks to a flawless central performance by “Glee” alum Dianna Agron, solid elder annoyance shtick from Candice Bergen and Dustin Hoffman, and Bialik’s “Big Bang Theory” co-star Simon Helberg locating his pain and relishing every minute of it.

There are stretches when this true story can be a clunky inspirational piece about a young man who overcomes class and racial barriers to excel at science, business and helping his community. At regular intervals, though, it shifts to darker crime drama with dire themes of injustice and manipulation. The two moods don’t always transition smoothly, but each complements the other as they unfold.

What “The Grab” doesn’t do quite well is sell its argument or weave its many disparate, admirably reported discoveries into a graspable whole.

Saw X is “Saw 1.5” chronologically, taking place between the first and second films in this granddaddy of torture porn franchises. Quality-wise, though, it is closer to a 10 than a zero, which cannot be said about most of the other nine movies in this distressingly popular series.

The action ramps up so much toward the end that there’s really no time to care whether it makes visual or logistical sense. It’s sustained, exciting and increasingly gory fun that’s a pleasure to get to after some of the film’s earlier, dour stretches. It’s sustained, exciting and increasingly gory fun that’s a pleasure to get to after some of the film’s earlier, dour stretches.

While pacing and believability issues in The Pale Blue Eye cannot be overlooked, this finely made period mystery’s virtues should still be savored.

Though Butcher’s Crossing has its share of conflicts and drama, it can move as slowly as the glaciers that cut its imposing scenery.

Oslo ultimately acknowledges that the Israeli-Palestinian conflict is anything but resolved, and shows why even this first, limited step toward settling it was so immensely difficult. Whether we’re in the mood to find it entertaining right now remains in dispute.

There’s nothing here to match the ingenious audacity of, say, the hospital-shootout-with-infant sequence in 1982’s “Hard Boiled,” but once Silent Night finally unwraps its gratuitous gifts, the faithful Woo fans should find them worth the wait.

This sometimes clever, outrageously gory and slickly violent horror comedy is more “John Wick” than Tod Browning, and that’s just the tip of its tonal confusion.