Gregory Ellwood

Boy Erased has problems depicting the fear, intimidation and psychological trauma such programs can inflict on even the most willing of participants. But that’s likely because, at its core, the film isn’t really about the gay conversion experience.

Malcolm Washington, Denzel’s youngest son, has his own secret weapons to assist him in his feature directorial debut. The first is a scintillatingly stellar performance from Danielle Deadwyler. The second is Washington’s impressive artistic vision which proves that a love of cinema truly does run in the family.

Cranston has his moments and you have to laud his attention to detain in channeling Trumbo’s unique voice and mannerisms. Unfortunately, he’s so committed that his character borders on being a caricature.

For the most part, One Life is chronicling very familiar WW II territory. It’s not difficult to prompt genuine tension from these horrific events, but Hawes’ depiction of them is simply too conservative.

While the film elegantly considers the relationship between Feña and their father in the third act, it still feels like something is missing from that aspect of the picture. Especially after Feña’s anxious build-up to his arrival.

His film feels more like a collection of wonderfully envisioned set pieces that don’t fully form a coherent whole.

Outside of the Berg’s incredible depiction of the Deepwater’s destruction and the escape of a majority of its crew, the picture also benefits from two fantastic performances by Wahlberg and Rodriguez.

Overall, “Fighting” works thanks to Merchant’s witty screenplay, Pugh’s transformative performance, Vaughn’s inspired off the cuff one-liners (likely improvised) and a cast that clearly respects the Bevis family story.

Despite Depp’s seemingly flawless efforts, less may have been more in conveying just how bloodthirsty Bulger was. Where “Mass” excels is with a stellar cast whose spot on performances keep your interest as the film moves along.

It’s one of those well-intentioned efforts that feels inherently too safe. There’s nothing wrong with that, but Roher teases that he knows he could reach higher.

As always, Dinklage is exquisite in a mostly silent performance that conveys the pain and survivor’s guilt Del has bottled up inside him following the incident.

Sarnoski is working on an auteur wavelength. He often lets the momentum stagnate just enough so the viewer can truly take in the staggering annihilation of a city now in ruins, full of death, and inherent quiet beauty. None of this would come close to fruition, however, without Nyong’o and Quinn’s stirring performances.

Both actors are superb, but the problem is that history isn’t really on their side. The incidents depicted in “Saipan” were dramatic in 2002, especially in the sports arena, and to a fixated Irish public who took sides. But two decades later, it all lands with a thud.

The film’s saving grace, as you’d expect, is Domingo. He conveys Ruskin’s inherent natural charisma so perfectly that no one will finish watching this film and wonder how such a flamboyant man became such a powerful figure in this homophobic era. Domingo’s performance makes you believe.

Considering how much screen time they share together, Lister-Jones and Pally need to have fantastic chemistry to keep the audience rooting for Anna and Ben and, luckily, they have more than enough.

The movie wants to make a statement about the intersection of art and family, but it’s all too muddled to add up to anything that astute.

Sadly, even with the contributions of four screenwriters and the still underrated talents of Byrne...it simply doesn’t work.

Herzi’s directing skills have showcased her talented cast. Her slick aesthetic has given the tale a needed polish. But will the rest of it stay with you? For someone, somewhere, in a similar situation, if they can find a way to see it, it no doubt will.

Thankfully, Drucker has enough charisma to hold your attention in even the most mundane moments.

Magee’s script doesn’t always give them enough material to play with, but Corrin runs with it and, most impressively, with a freedom that totally clicks with de Clermont-Tonnerre’s sensibilities. And yet, when the credits roll it feels like something is missing and, well, you somehow wish they’d pushed it even more.

Along with some truly breathtaking visuals, the pint-size Ochi is the best part of Saxon’s long-in-the-works opus.

O’Brien has never had the opportunity to play such a sketchy, dirty character before and utterly kills it. This is the sort of performance that make casting directors take notice.

At no point in Patti Cake$ is there ever a hint that Macdonald is unable to legitimately rap. She’s simply a revelation.

How many times have you read that it’s really hard to duplicate the success of the first film in a sequel? Probably more than you can remember. Well, here’s a newsflash: Guardians of the Galaxy, Vol. 2 pulls that feat off with only a little strain and a belly of genuine emotion.

Phoenix is almost otherworldly here. It’s his charismatic performance that often carries the film through its repetitive moments as he expertly takes Callahan on an emotional roller coaster filled with the highest highs and the lowest lows.

At almost two-hours Worth somehow feels almost twice as long. Granted, we understand it’s a cliché to describe a film in such terms, but Colangelo and Borenstein are trying to cover too much ground that is, for lack of a better word, repetitive.

Watts co-wrote the screenplay with Christopher D. Ford (“Robot & Frank”) and, frankly, it’s not as clever or compelling as it wants to be.... The filmmaker does deserve credit, however, for conjuring up some nicely tense cinematic moments.

There are moments of genuine magic that make you wonder what this movie could have been. But do they linger like that imaginary friend you’ll never forget? In this case, perhaps not.