Gregory Ellwood

If not for Sareum’s charismatic performance the film might fold like a house of cards.

When Arco comes to its inevitable “E.T.” Inspired conclusion, the wondrous score by Arnaud Toulon may have you this close to shedding a tear. And you’ll wonder if this future is truly only an animated dream.

Youth has some significant points on frustration of fame, ageism and our natural inclination to lose perspective, but it’s primarily about finding peace and happiness in your life. That may sound painfully obvious. It may even sound cliché. But somehow Sorrentino is able to fashion the film's diverse elements into an emotional narrative that makes it all feel fresh and new. And that’s truly worth celebrating.

Make no mistake; there is no disputing this is clearly one of Marvel’s better efforts. And, yes, attempting to break from the expected shackles of a lineage of other origin movies is difficult, but you still feel the formula straining at the core of Doctor Strange.

As the story progresses it becomes less and less interesting and worst of all – gasp – cliché.

It goes without saying that Lambert’s skill at stating the film’s surreal moments is genuinely impressive. She collaborates with cinematographer Dustin Lane and art director Robert Brecko to stage images that stick with you long after you leave the theater. But, outside of a showcase moment for Ridley in the movie’s third act, there isn’t much else that does.

The movie feels like a cinematic palate cleanser the closer it comes to its inevitable ending.

The film’s saving graces is not only Ahmed, who, as you’d expect, elevates the material every chance he gets, but his on-screen connection with Chauhan. Somehow, the relatively unknown Canadian actor gives one of the best performances from a young actor in recent memory.

As always, Lelio has a way with his actors. Nothing will ever feel forced. Even the most melodramatic stakes will feel grounded. And yet, despite a pointless framing device the film simply does not need, it’s missing some of the visual magic of his earlier films.

Beyond the performances, this new “Macbeth” benefits from Kurzel’s inspired eye, the increasingly impressive talents of cinematographer Adam Arkapaw (“True Detective”) and Fiona Crombie’s period-loving production design. The world they have created for this tragedy may overwhelm, but it's certainly impossible to forget.

The result is a drama full of intriguing ideas, and one unexpectedly memorable performance, that is often more obvious than it wants to be.

The movie lives and dies, however, on Ingrid herself and, remarkably, Plaza finds a way for you to root for her even when she crosses line after line after line.

Many moviegoers may think they already know a good deal about Hawking’s achievements, but they would do themselves a disservice to miss out on Redmayne’s almost perfect performance.

The chemistry between Patel and Hardy is often divine, and the latter delivers such a layered and charismatic performance you’re with it till the end.

The best news is that the songs, by Galvin, Gordon, Lieberman, Platt, and Mark Sonnenblick (“Spirited,” “Lyle Lyle Crocodile”) were written beforehand. Those compositions contribute to the one-time-only musical performance that practically saves the movie. The songs and staging of the show are simply hilarious.

It’s not acknowledged enough how difficult it is to make a period piece that doesn’t feel staged or performative. Nichols genuinely captures the spirit of this particular era and keeps your attention even if you never gave a second thought to those packs of bike riders passing you on the highway.

There is a faith that the story and characters will keep the audience engaged, even if there isn’t a bright and shiny thing to distract them in a every single scene.

Despite a fantastic performance by Fares (and a stellar score from Alexandre Desplat), “Eagles” doesn’t have the emotional gut punch you’d expect. But you believe that everything Saleh depicts can or will occur, and that’s an achievement in and of itself.

Regrettably, any sympathy the film has mustered is diminished by at least three, maybe four, additional endings that are frustratingly superfluous. These never-ending epilogues add nothing to what has come before it and, in many ways, curtail any emotional heights the film has garnered to this point.

We’re not sure there will ever be another “Devil Wears Prada” installment, but be glad this one came along. At worst, to reinforce that shining memory of the original, at best to simply delight you for two hours. Hey, it might even be an improvement on that first flick.

Even at its most unwieldy, Audiard’s cinematic skill and Zoe Saldana‘s at times dazzling performance make it hard to ignore.

It’s simply a very well done movie that features Maggie Smith’s best work in years (and, yes, she’s better here than any of her years on “Downton Abbey”).

The combination of Thompson’s sharp delivery and Kaling’s commercially friendly script make the film’s charms hard to resist.

At its best, a welcome addition to the increasing number of contemporary Native American stories seen in the films such as “Songs My Brother Told Me,” “Wild Indian” and FX’s “Reservation Dogs.” At worst, it’s a disjointed narrative that sadly overstays its welcome.

Trier is far too talented for there not to be some good things here, but it just doesn’t add up to much.

Ultimately, the biggest disappointment with “Relay” isn’t the big twist, you see that coming a mile away. The issue is the execution of everything thereafter is almost comical.

While the entire cast is superb, it’s the rich performances from Watson and Mescal who elevate the material beyond that aforementioned air of familiarity.

Where Akhavan succeeds is whenever she has the kids doing things teenagers would be doing.