Christy Lemire

It aims for and earns genuine emotion rather than cheap thrills.

Swedish director Björn Runge’s approach is no-nonsense and workmanlike, perhaps to give these esteemed actors room to swagger and shine, but a bit more imagination and artistry wouldn’t have hurt.

A coming-of-age drama that’s as beautiful and brutal as the remote, rural landscape of northern Iceland where it takes place.

Director and co-writer Susanna Fogel has trouble achieving a tonal balance between the comedy and the action, which only grows increasingly glaring over the course of the film’s overlong running time.

While Puzzle adheres to a bit of a formula in depicting her character’s path of self-discovery, it’s filled with vivid details and lovely grace notes along the way.

The sequel (which is also a prequel) features a bigger cast, a longer running time, extra subplots and additional romantic entanglements. But it’s emptier than its predecessor and has even lower stakes. It’s less entertaining, and for all its frantic energy, it manages to go absolutely nowhere.

Just intense enough to provide a much-needed diversion, just lightweight enough to make you forget about it soon after it’s over. It’s not exactly “good,” per se, but it does what it sets out to do in terms of putting us on edge, which makes it … successful?

A strange little movie that attempts the tricky feat of combining comedy, drama, sci-fi and romance, but it doesn’t get those individual elements right so it never coheres as a whole.

Damsel is a sly feminist manifesto disguised as a shaggy, amiable hangout movie. It’s a quirky, comic Western with bursts of startling violence. And it calls for a bit of a high-wire act from its gifted cast.

Habits are hard to change; sadly, the people who are most likely to seek out a movie like Eating Animals are already on board with its message.

Slickly paced and radiating sexy glamour, “Ocean’s 8” moves with the swagger of a supermodel prancing down the runway.

Tackles the tricky topic of gender dysphoria with sensitivity and grace.

Even by the low standards of this type of live-action, family friendly comedy, Show Dogs is especially lame. It’s actually kind of amazing that it’s getting a theatrical release at all.

The film we need right now, from a filmmaker we need right now: French writer/director Coralie Fargeat, who makes her stunning feature debut with a rape-revenge fantasy that’s as brutal as it is thrilling.

Part of the allure of The Guardians comes from the casting: The radiant, real-life mother and daughter Baye and Smet play mother and daughter Hortense and Solange.

It features Cody’s hyper-verbal brand of snark, cynicism and subtle poignancy, but it’s tinged with the wistful perspective that comes from hard-earned maturity and experience.

Eventually it becomes a half-baked, sci-fi horror flick, and even a bit of a drama. Like “I Feel Pretty,” it uses its high-concept premise to explore notions of feminine power, at least superficially — and similarly, its execution ends up being problematic.

Fellow comedian Dave Attell is his delightfully twisted self as the MC at a Coney Island bikini contest where Renee puts on a wild spectacle compared to the typical skinny girls who populate such events. Again, this isn’t a moment of body shaming. It’s an unbridled display of enthusiasm. We’re laughing with her, not at her. If only the rest of the film had such complete confidence.

Danish documentarian Janus Metz — making his first feature, and working from a script by Ronnie Sandahl — feels the need to hold our hands and oversimplify these two titans of tennis.

Here, Pfeiffer’s Kyra is our conduit to a world of anxiety and destitution within a seemingly exciting, glamorous city. And she’s absolutely heartbreaking with just the slightest register of sadness in a gesture or facial expression.

Ready Player One is at once familiar in its fabric and forward thinking in its technology, with a combination of gritty live action and glossy CGI. It’s an ambitious mix that can be thrilling while it lasts, and yet it fails to linger for long afterward, leaving you wondering what its point is beyond validating the insularity of ravenous fandom.

Both actors are gorgeous, of course, which heightens the romantic fantasy of it all, but there's also a naturalism to them that's appealing.

Weirdly sluggish and dull.

Finley has created a film that feels original and alive.

Ultimately, these shocking and violent sequences become repetitive and gratuitous, making Red Sparrow feel more like a cheap exercise in exploitation than a visceral tale of survival.

Every Day has an intriguing concept that’s hampered by problematic execution. And it raises several questions it never answers in satisfying fashion, leading to a conclusion that will elicit not just head-scratching but unintentional hilarity.

A strong cast giving their all — including Jon Hamm, Ellen Burstyn, Bruce Dern, Catherine Keener and Amber Tamblyn — can’t do much with such heavy-handed, self-serious material.

Both in front of and behind the camera, Whitney Cummings tries to breathe new life into the hackneyed, men-are-like-this, women-are-like-this style of romantic comedy with The Female Brain. The results are frustratingly hit-and-miss.