Glenn Kenny

This picture is not as ridiculous as a “Sharknado” movie — Harlin is out to make a genuine nail-biter, and he largely succeeds, maintaining interest even as the two-hour mark approaches. But it’s not enough to make you genuinely afraid to go into the ocean this summer.

In addition to serving up heaping helpings of suspense and action, “Fuze” abounds in twists.

Rather than extend the epic sweep of this picture into the cosmic ineffable, he just wants the viewer bouncing along and rooting for its female hero. And the film succeeds admirably in this respect.

If the movie’s conclusion is more along the lines of Voltaire than it is to, say, Costa-Gavras’ “Z,” the hair-raising route it takes to get George to a spot of tentative complacency is memorable and eye-opening.

The violence is pretty graphic, and some of it is played for laughs, which would be distasteful if the laughs didn’t actually land. Oh well. Sometimes you enjoy a movie, and you don’t feel good about it in the morning.

Make no mistake: this is a horror film; as you stare at the screen, the abyss it represents stares back at you.

It’s an earnest account of a religious movement that still resonates — Whitefield’s practice was instrumental in the growth of the Methodist church, and his sermons and lectures are still in print today.

While this film is often funny, its ultimate bit of wisdom, from the New Testament, is dark and undeniable: “Sufficient unto the day is the evil thereof.”

While the picture, directed by Rick Gomez, has an often jaunty tone, it’s really at its best when it leans into the sadness that shadows the father-daughter relationship. Those scenes are where the two Zahns do their best, most affecting acting work.

While Loznitsa’s films, particularly his documentaries, often have a terrifying epic sweep, “Two Prosecutors,” as its title implies, is an altogether more intimate undertaking. And no less terrifying for all that.

The movie steers into a “beat the system” narrative that packs some stirring “Erin Brockovich” energy.

Reminders of Him deserves credit for serving it all up unabashedly and without a single wink. This is largely thanks to the stupendous Monroe, and also Withers.

“Hockey will teach you what you need to know about life” is a cliché, and while Underwood’s delivery of the line almost redeems it, James’s work makes you believe it.

As tough a life as Preston had, the music that buoys this chronicle is a constant source of joy.

Cold Storage strikes a nifty balance between the sardonic and the stressful and throws a lot of gnarly gore and gook into the scenario, as a bargain.

There’s a reason that “Road Trip” is premiering in the middle of Black History Month. While expansively anarchic to a fault, the movie’s anger, and its pride, is convincing.

Besson doesn’t build up the romantic emotion he apparently aspires to with his efforts, but “Dracula” gets by on the power of his (and Landry’s) conviction.

The spy-versus-spy scenario set out by the screenwriter Ward Parry isn’t going to give the maestro Mick Harron (“Slow Horses”) any sleepless nights. But as a vehicle for Statham’s bone-breaking escapades, it’ll do. And the story avoids some of the expected clichés.

The hair-raising narrative content notwithstanding, the movie doesn’t create much emotional traction.

While some institutions are legitimate, Shuffle, a shocking and confounding new documentary directed by Benjamin Flaherty, lays out in painstaking detail the collusion between moneymaking rehab treatment centers, double-dealing insurance entities and predatory social-media “scouts” who make sure cash flows into corporate pockets while the sick and suffering never get well.

Magellan, about the titular Portuguese explorer, clocks in at a relatively tidy two hours and 45 minutes, making it practically an ideal starter picture for those curious about Diaz’s work.

While the lead actors are clearly committed, the movie gives them little to do besides exchange verbal invective.

A moving account of music as a way of coping with war, as well as keeping it at bay.

By putting the garrulous, sometimes cranky Hersh on film, “Cover-Up” reveals, in the behavioral sense, the obsessiveness that makes an investigative journalist.

Today, Duritz is a reflective figure. The documentary, directed by Amy Scott, will pull you back from any “pity the poor celebrity” eye-rolling with its revelation of his struggles with mental illness, which he endured, undiagnosed, during the ups and downs of early fame.

Filmmaker Waller is here trying to have things both ways: to pay a sincere tribute to the classic Japanese samurai movies in the widescreen frames and spurting blood it borrows, and also to make a genuine thing, a samurai qua samurai picture. He eventually gets there, or almost does.

The movie, written and directed by Hailey Benton Gates, wants to be a lot of things at once, including a satire and a dark rom-com. It bites off more than it can comfortably chew. However, the cast, also featuring Tim Heidecker, Chloë Sevigny and Channing Tatum, is charismatic and at times piercingly funny.

Sorrentino and cinematographer Daria D’Antonio color coordinate each and every frame to a fare-thee-well. Even scenes set in an Italian prison have real visual flair.