Glenn Kenny

Tong is not a stickler for verisimilitude. Hence, this movie’s ridiculous computer generated lions; hence also, its solid-gold sports cars.

This is Friedkin on the movie. And what he does have to say, after all this time and so many articles and movies touching on “The Exorcist,” is still engaging, fascinating, and entertaining.

Through it all Ting is an anchor, a presence of compassion and good sense. Anyone confused about transgender people will certainly benefit from a viewing of this picture.

Raboy manages to pull off several galvanic cinematic effects even as his scenario yields little more than exasperation. There’s enough raw talent on display here that I’m looking forward to his next picture nevertheless.

This picture earns its tear-jerking without becoming treacly. OK, without becoming too treacly. And it has other charming, enlightened components.

As much a joy as this movie . . . is to behold, its scenario is more than a little overbaked and overdrawn.

This film rests on the fact that Mother Earth is always being called on by other worlds in the forms of comets, meteorites and asteroids — and it’s about as transportive as documentaries get.

I think the most productive way to look at Mank, a new film about Hollywood in the 1930s and ‘40s, and about the screenwriter of a particularly famous and iconic work, is to understand it as Fincher’s most playful work.

It certainly doesn’t help that Tobias and Elin are entirely banal characters with nothing to define them but their loss.

With uncommon stealth, Let Him Go morphs from a drama about loss and grief into a terrifying thriller.

A derivative, irritating thriller.

The sweaty clichés enacted along the way are uniformly tired and ultimately offensive. A love scene near the movie’s finale, Winkler’s vision of sex among the underclass, is a caricature that could comfortably fit in the new “Borat” movie.

Fire Will Come practically becomes a documentary, and a devastating one at that.

The result is an unusually compelling character study, one that, commendably, opts to end on a humane note rather than a dark judgment.

Wang — using a direct, unadorned shooting style — along with his cast (Justin Chon, who’s been around for some time, makes a strong impression as Chang-rae) put them across with unusual integrity.

The movie’s imaginative energy is undeniable, and Bodhi himself is a winning screen presence. If Webber sticks to his creative guns, he could well become the John Cassavetes of attentive (albeit eccentric) parenting.

Taormina purposefully dresses his cast and designs their environment in a way that throws them into a sort of temporal never-never land. He achieves a number of other startling effects in this impressive movie, which sheds its naturalism slowly as it embraces a surrealism that’s both disquieting and poignant.

Moorhead and Benson don’t overlook the more amusing aspects of the scenario . . . . And the duo deliver shocks, scares and a resonant payoff.

An angry movie that’s angry about the right things. But it's so angry that it gets a little crazy about it.

The details of this engaging and sometimes heart-tugging picture are entirely contemporary.

One of the many things that White Riot, a documentary about RAR directed by Rubika Shah, brings home is that the world could still use more somethings against racism.

Choudhury is excellent here as a fraught matriarch — as good as she was as a young rebel three decades back. And Maskati’s performance is a slippery mix of suave and menacing, which helps sell the farthest-fetched elements of this story.

De Niro is game throughout, and sometimes amusing in that way he can be. But Walken is the funniest performer here.

It also brings some devilish ingenuity to its variations on “Memento” and other “who am I?” thrillers. And it adds to that something more rare: a genuine emotional potency.

This is a whiffed effort at an all too familiar subgenre: the ostensibly dark, searing human drama undercut by the fact that all the humans in it are boorish idiots.

Hence, the movie lumbers its way from intriguing to frustrating. But Berham does manage to keep your attention, even as his vision tends to irritate in the wrong way.

For the first half-hour or so of Eternal Beauty, Roberts and Hawkins take an unusual and intermittently illuminating approach to depicting mental illness. . . . But the movie doesn’t keep up its good work.

Possessor is a shocking work that moves from disquieting to stressful with ruthless dispatch.