Christy Lemire

Spider-Man: Far From Home changes the scenery but can’t quite match the inspired heights of its predecessor.

The film version of the best-selling novel The Fault in Our Stars feels emotionally inert, despite its many moments that are meant to put a lump in our throats.

Imagine a cross between “Taken” and “Fargo” and you’ll get an idea of the chilly thrills “Dead of Winter” has to offer.

Raiff offers some impressive tonal mixtures and narrative surprises along the way, and even though his third act sags a bit, the performances—particularly from an achingly melancholy Dakota Johnson— remain compelling until the end.

Bell and co-star Simon Pegg are such enjoyably unlikely rom-com leads, and they have such crackling chemistry from the word go, they more than make up for some of the film’s more predictable plot elements.

Professor Marston and the Wonder Women aims to shake you up, make you think and maybe even squirm a little. Make that a lot. This movie is sexy as hell, featuring several scenes of steamy three-ways and kinky S&M games.

John Wick breathes exhilarating life into this tired premise, thanks to some dazzling action choreography, stylish visuals and–most importantly–a vintage anti-hero performance from Keanu Reeves.

Everything gets upended in the film’s final third, when its languid pacing gives way to sped-up plotting.

This may be the start of a most welcome girl-powered franchise.

French writer/director Léa Mysius concocts a compelling witch’s brew with The Five Devils, but the result doesn’t quite come together with the potency she’d desired.

You’ve seen this movie before. You’ve seen it in the past month, actually: It was called “The Hollars,” directed by and starring John Krasinski. But while that film hit every clichéd note you’d expect, despite its good intentions and great ensemble cast, Other People breathes new life into the formulaic, dark comedy about death.

If you long for the gritty charms of mid-‘90s indie cinema in general and “Trainspotting” specifically, T2 Trainspotting gives you exactly that. And by “exactly,” we really do mean “exactly.”

At only 24, Joris-Peyrafitte shows confidence and talent beyond his years, with an artful eye for imagery and a truthful ear for dialogue.

These moments remind us of the mindless summertime excitement the “Jurassic” movies have long provided, albeit with diminishing returns. But that giant footprint just isn’t as imposing as it used to be.

It’s disappointing and actually kind of cynical in its unwillingness to try anything even vaguely innovative with these beloved characters.

You’ll be able to figure out where Run is headed pretty quickly, but that doesn’t detract from the precise thrills and campy fun along the way.

The number of important, enduring 1960s and early ‘70s songs that a group of studio musicians known as The Wrecking Crew brought to life is staggering.

Uniformly strong performances help ground the story. Tremblay, who showed instincts beyond his years in the devastating 2015 drama “Room,” provides both a sweetness and an intelligence to his 10-year-old character that make him accessible even when he’s wearing an astronaut helmet to hide his face.

What’s fascinating about Jimi: All Is By My Side is not only its decision to show us this particular chapter in Hendrix’s life, but also the way it teases out the shadings in a famous figure we only think we know so well.

If the delightfully nutty “M3GAN” was a cautionary tale about the perils of relying too heavily on technology, “Missing” ends up being a celebration of its possibilities.

Hedges’ film is stronger in its first half, when it’s an understated character drama, than in its second half, when it morphs into a contrived crime thriller. But the performances remain uniformly strong and hold the story together, even as it threatens to spin out of control.

It’s steeped in traditional cultural locales and details, yet feels bracingly modern with the help of dazzling special effects and innovative action sequences.

The Report is also surprisingly free of tension, given the subject matter; if you’re going to experience any anxiety, it’ll probably come from a sense of worry over whether all of this is going to be on the final exam.

Causeway ultimately may be a little too languid, too restrained, but there’s catharsis to be found in its quiet moments and fine-tuned performances.

Because Users is so captivating from a technical perspective, it’s frustrating to discover how scattered it is narratively.

Hooper’s latest is tasteful and restrained to a fault. It is easier to admire than love.

Zippy and zany, cute and cuddly, Storks manages to balance wild humor with winning heart—for the most part.

It’s all inspiring stuff, to be sure—and often so dramatic that it’s hard to imagine it really could have happened, even though it did.