Jen Yamato

Beyond Glenn-Copeland’s magnetic onstage presence and rich, sonorous, still-flawless vocals, it’s the candid moments in which he dances to the music, riffs on spontaneous beats in between sets and shares meals on the sidewalk with his younger bandmates that leave a hopeful grace note on Glenn-Copeland’s legacy.

More than its predecessors dating back to 1979’s lean, brutal “Mad Max,” “Furiosa” highlights the silliness and savagery of toxic men playing “Lord of the Flies” in the rubble of humanity.

Both the filmmaker and his cast are breakouts to watch in this Sundance standout, a heartfelt and hilarious entry in the coming-of-age canon that’s primed to find kindred souls in a wider audience.

Set during the drab 1990s of Clinton-era America, the latest offering from writer-director Osgood “Oz” Perkins throbs with a bone-chilling sense of dread, a marvelous piece of supernatural horror wearing the skin of a serial killer thriller that weaves a lasting, sinister spell.

A sneaky tale of savagery in the dehumanizing digital age, writer-director Kiyoshi Kurosawa’s “Cloud” is as bleak a warning as you’ll find in theaters this year, cautioning against the corrosive combination of late capitalism, the internet and human nature.

The Amateur may be off to a rocky start as a spy franchise, but it scores one for the IT crowd.

[Kurzel] delivers another warning in the form of a timely American crime story — one that, arriving in theaters a month after the U.S. election, many will deem too late.

Despite Donahue’s best efforts in a grand finale sleep session with life-or-death stakes, the premise never lives up to its promise.

At times a case study in How to Be an Ally, the film is accessible by intention. Yet it remains raw, vulnerable and joyful, even when things get messy, as it charts a road map to empathy and acceptance — the real destination that awaits at the end of their cross-country odyssey.

Young’s vision of quiet middle-class mayhem, drawn from the three-handed struggle between young Vicki and her tormentors, is bold and unflinching.

Parabellum excels when it tees up the sublimely inventive and wince-inducing close quarters fights with the lethally graceful Reeves baring John Wick’s psyche and soul between reloads and headshots.

Buoyed by sensitive and ferocious ensemble turns, “Honey Boy” is a cinematic salve for a tortured soul, in many regards a powerful vehicle for its star-screenwriter-subject and a vibrant narrative debut for documentary and video artist Har’el.

It’s an affectionate finale for the character, crafted with such care — from Molly Emma Rowe’s costumes to Kave Quinn’s thoughtful production design to those signature needle drops, monologues and Bridget-isms — it’s a shame “Mad About the Boy” isn’t opening in U.S. theaters.

The film also suffers from erratic pacing and half-baked reveals, but at its best, it throbs with raw, human, horrific honesty.

When the pair’s natural curiosity and humor seep into the film, their scrappy enthusiasm is infectious.

Written and directed by “A Quiet Place” scribes Scott Beck and Bryan Woods, “Heretic” builds suspense through ideas and argument, allowing both sides to score points when it comes to organized religion.

The film reveals its truest self as a cinematic act of negotiation, acceptance and farewell between mother and son.

Ingrid might be a lying, manipulative stalker, but Plaza also lets us see her humanity, engendering a crucial empathy for the desperation that drives her.

A fresh pivot that starts out strong before caving to fan service, this femme-centered installment at least doesn’t skimp on visceral horrors and black humor, finding inventive ways to make its audience cringe, cower and cackle as it puts its heroines through hell.

Mama maestro Andy Muschietti directs this visually splendid but thematically toned-down interpretation with finesse, crafting a world rich in detail where menace lurks in every shadow.

As a character study, Selah and the Spades is more than requiem for a mean girl. Think the stylistic snappiness of “Brick” meets the fastidious world-building of “Rushmore” with a fourth-wall-bending feminist perspective and two young black female leads, and you’ve got “Selah.”

It’s frustrating and distracting when flat direction, inconsistent effects and wooden acting break the spell, making it more and more of a slog to stay interested as Johnny slices and dices his way through the film’s 94-minute run time.

With a patient and unobtrusive eye, filmmakers Lucas and Bresnan paint impressionistic portraits of a quartet of charismatic teenagers over the course of a pivotal school year.

Anderson is radiant playing this daffy optimist who rambles in breathy clips about past glories, as if the world around her hasn’t moved on since the days of Siegfried & Roy.

In Deadpool 2, the manic antics fly fast, but the franchise loses its edge as wise-cracking antihero Deadpool goes dadcore, attempting to infuse standard-issue four-quadrant studio blockbuster beats into what was once a revolutionary R-rated premise.

The script by Nick Lepard never quite figures out how to fill its 98-minute run time with new cat-and-mouse (or shark-and-marlin, as Tucker dubs her) twists, and “Dangerous Animals” loses steam treading familiar trope-filled waters en route to an oddly mawkish ending.

Bold and brutal in shocking spurts, the indie horror drama from writer-director O’Shea is a startling debut that leaves a fresh mark on the genre while celebrating its forbears.

An American teen encounters peculiar horrors at a remote German resort in Tilman Singer’s “Cuckoo,” a kooky sci-fi genre hybrid that crackles with offbeat turns and creature scares as it unfolds against a backdrop of deceptively serene forests and cheeky Euro-kitsch.