John Anderson

Isolated brilliance is precisely what helps The Good Nurse shine, and it could hardly be otherwise given the story.

Fully understanding the war—who does?—may not be necessary in appreciating the disturbing, moving and sometimes too-beautiful production. But that production certainly puts a Teutonic tweak on history, sometimes to outrageous effect.

God Forbid may be seen as a seamy peek into a couple’s private life, an exposé about the religious right, or both. But what gives it substance is the history recounted.

Granted, the mayhem is inflicted mostly on zombies and other Halloween decorations that have come to life courtesy of the ancient curse unleashed by Sydney. But the casual decapitations and dismemberments transition from vaguely entertaining to annoying, mostly because there’s a lot less story than there are special effects.

Knowing the score in advance is no obstacle to reveling in The Redeem Team, a documentary about motion, emotion, motives and a mission.

Stephen King fans will respond immediately to the atmosphere writer-director John Lee Hancock creates at the outset of Mr. Harrigan’s Phone—a world of perpetual autumn and incipient unease, a white-clapboard Maine where the chill gets into the bones and the soul.

The story that directors Sami Khan and Michael Gassert tell so intimately is certainly about skirting the law. But it’s also about baseball, in which there aren’t always fairy-tale endings.

The Greatest Beer Run Ever is far too interested in having a good time to get too heavy about a bygone American argument, but there are truths to be found in the film, by peering through its various fogs of war.

At two hours and 47 minutes, Andrew Dominik’s pseudo-biography is one long slog into sadness and more-than-predictable tragedy, despite a touching portrayal by Ana de Armas and the deliberately artful and often startling filmmaking of Mr. Dominik.

It’s a fast-paced whodunit, despite the answers to its central mystery being either memorable, or Google-able, but the reasons why may amount to spoilers. So reader beware.

Sometimes you just want a crazy action movie to kill an evening, and “Lou” fits that bill. Just don’t expect to be thinking about it tomorrow.

The Blue Fairy may have brought life to Pinocchio, but no one here is delivering anything particularly fresh. Or alarming. For that, we wait till Christmas.

Mr. Bonneville, having a well of viewer good will on which to draw, makes a perversely convincing villain, the extent of whose offenses are progressively appalling.

They can give the film’s characters physics-defying acrobatic skills. But they can’t provide anyone much motivation.

The Innocents features some superb kid-acting, which doesn’t just entertain and convince but embellishes the malevolent intelligence (call it sociopathy) at work in Mr. Vogt’s story.

It wants to fly away, though in one sense it does show restraint: There’s enough going on in Rogue Agent to have fueled an eight-week PBS mystery series. Economy, in the world of fictionalized espionage, is quite decidedly a virtue.

While certainly a curiosity, We Met in Virtual Reality—a pandemic-inspired documentary filmed entirely within a social platform called VRChat—is also revelatory, if not entirely ennobling of the human condition.

Ms. Rice (“Mare of Easttown”) is the main attraction, and a revelation; her direct address of the camera grows less frequent as present-tense time catches up with her schemes, but she remains magnetic throughout.

For all the overkill, The Gray Man is big, loud fun. Mr. Gosling is hip to what’s going on; Mr. Evans (of the Russos’ “Captain America: Civil War,” among others) gets to gobble up the scenery. And even if the elements are hackneyed—Alfre Woodard as the retired agency vet whom Six drags back into the fray; Jessica Henwick as the lone voice of CIA reason trying to rein Carmichael in—they’re not clumsy.

For all the gushing about the “transcendent” nature of “American Pie,” Mr. Brooks is the one who actually mentions, and praises, the recording itself, which becomes a fascinating aspect to a show that seems to spend an inordinate amount of time justifying its existence.

Updating a classic is one thing; deliberately obscuring or burlesquing its points is another.

For all the disorder and sense of emergency, there’s also a combination of human sweetness and cosmic serenity to be found in Wuhan Wuhan.

Mr. Hunnam is a charismatic center of attention, Ms. Baccarin perhaps more so for some of us, and Mr. Gibson, though doled out sparingly, is deftly funny.

“The Lost Tapes” is a chronicle of folly, which makes it perversely fascinating and, one hopes, cautionary.

Barbarians is sometimes a comedy of ill manners, sometimes an exhilarating thriller, but it’s also an amusingly clever and sometimes violent parable about venality, vulgarity and territoriality. Barbarians may be an ambiguous title, but it’s apt.

It’s a gripping historical document, regardless of where one stands on the central argument.

Smartly directed, deftly edited, with a cast of performers who all get a chance to show what they can do.

Top Gun: Maverick is not a dislikable movie, by any means: The cast is charming, the military stuff is convincing, the action sequences are, as intended, pretty astounding: In the proper theater (I saw it in IMAX) it will be a physical experience, literally, one that may lead to armrests being shredded by white-knuckling audiences in cinemas all over the world. But it’s also a little depressing, because of where it says movies are going, what it says about the lack of creativity making its way on screen, and what a precarious balance movie theaters are in.