Daniel Eagan

Because Victory is set in 1999, it’s easy to get lost in a welter of 20-year-old K-pop references. It’s just as easy to be swept along by Hyeri’s amazing confidence.

Even middling Welles is better than none, and it's a treat to see his longtime collaborators like Paul Stewart and Mercedes McCambridge performing as brilliantly as ever. John Huston is a special delight.

They'll Love Me When I'm Dead gives a rich, flavorful account of a self-destructive genius on one of his last creative benders.

If there is any "message" to Monrovia, Indiana, it may be that we all share the same fate.

The Old Man & the Gun is never less than pleasant, and Redford's fans might even find it resonant. Others may think it's cute but underwhelming, sweet-natured but forgettable. There are worse ways to spend your time.

It's the camerawork by director of photography Brett Lowell and cinematographer Corey Rich (along with many other contributors) that impresses the most here. Close-ups show just how precise and physically challenging the climbers' moves are.

New paint can't hide the worn-out frame behind Mile 22, a gung-ho workout that pairs Mark Wahlberg and director Peter Berg for the fourth time. Cribbing from themselves as well as tons of other action films, they manage to throw enough firepower on the screen to placate genre fans.

Bo’s secret weapon in The Island is Shu Qi, an effortlessly magnetic star who enlivens even the dullest material. Kept in the background for a lot of the story, she still brings a welcome human touch to a plot that keeps threatening to turn into a lecture.

Technically splendid but emotionally distant, The Third Murder will seem more like a detour than a destination for his fans.

Cassel, one of France's singular talents, delivers an absorbing performance, committing to his role on both mental and physical levels.

Milford Graves: Full Mantis is a wide-ranging look at an intriguing artist, a documentary brimming over with his thoughts about culture as well as his music.

The Rock retains his uncanny ability to elevate his material. Through sheer will he makes it seem possible that he could shimmy up a fraying rope outside a burning building's glass wall while carrying his own leg.