Katie Walsh

It's Hill who proves once again he's much more than his comedic origins, crafting a compelling portrayal of the elusive Donnie that just about steals the whole movie.

It's a rare delight to spend so much time with the inimitable André. This revealing documentary shows the playful, loving and vulnerable side to this towering figure of taste.

Directed by Stephen Williams with a sense of momentum and fluidity, it’s hard to shake the feeling that this version of Bologne’s life story glides over the most interesting parts.

No Man of God is impeccably and carefully directed by Sealey, and the craft on display is remarkable.

This visceral and anxiety-laden vision ends on an uneasy, though hopeful, note.

The genre play is an interesting and original take on what has become a cliché genre of Brooklyn relationship dramedy. But unfortunately, the execution of the story is bungled along the way.

The maximalist approach isn’t necessary to enhance the wild tales, but the film does reflect its subject in its messy yet invigorating approach.

Finn brings bigger, and even more effective, jump scares than the last time, which will keep the popcorn flying. The sound design booms and rattles, the delusions are even more elaborate, and the body horror is even bloodier and more disturbing.

The story takes some unbelievably tragic twists and turns, and along the way, Dastmalchian unfolds a riveting performance, aided by Schiffli’s beautiful and unobtrusive style.

Though the film eventually gets to where it needs to go, it feels scattered, stumbling over true crime tropes on the way.

It's a mixed message, but that perfectly encapsulates the confusion of 2016 American politics.

How does it all end? Don’t go looking to Save Yourselves! for answers. It lands in an ambiguous middle that’s not too bleak or too hopeful and just falls flat; an exaggerated shrug.

Ruby Sparks hits that sweet emotional spot much in the same way "Eternal Sunshine of the Spotless Mind" does. While you are at once charmed by the whimsy and romance, there's still a gut punch of emotional rawness just waiting to be delivered.

The consciously campy A Simple Favor is as bright and bracing as an ice cold gin martini with a lemon twist, and just as satisfying.

Behrman has crafted a classic high school tale of outsiders finding themselves while looking in, bullied and beaten for daring to “experiment,” to be different. The images are sumptuously saturated and gorgeously crafted, and the soundtrack thrums and whines with anxiety and racing pulse.

Blink Twice is a big, bold swing, even if its message becomes muddled along the way. It’s clear Kravitz wants to make a statement with this film. What’s less clear is what exactly that statement might be.

It's a fairly serviceable animated feature, with a few inspired elements, and more than enough gnome puns to go around.

The suspenseful Missing plows through nearly two hours of shocking plot twists at a breakneck pace. And while it’s entertaining to be sure, it also takes on a somber tone as it reckons with grief, loss and intimate partner violence in a way that’s very real, backed up by headlines ripped from the news, and yes, those true crime series and TikToks that are so very compelling.

Tonally, Devotion remains steady, never going for over-the-top emotion or sensation, simply seeking to express something authentically moving and human. It unmistakably achieves that, delivering a stirring story of friendship during war, and beyond, that is both rare and real.

This prequel offers Bumblebee a chance to shine, and you'll come away with a newfound sense of affection for the most lovable alien vehicle in the universe.

Animals make for good screenwriting devices, as characters can speak their inner feelings to them, but that doesn't make for the most subtle or efficient screenwriting.

Henry is such an earthy, captivating presence that he holds the center of gravity in Causeway — when he’s not on screen, the film drifts, rudderless, as Lynsey does.

The film is an astute character study that is analytical but never unemotional.

There may have been skepticism about “Wonka,” but there’s no need to worry all that much, especially not about Chalamet, who gives himself over fully to the wonderment and vocal demands of the role. See it and enjoy it for what it is: a playful, heart-tugging take on a beloved character that’s smarter than it lets on.

Storks is at times cacophonous and overly busy, and the animation tends toward the goofily humorous rather than the spectacular. However, Stoller manages to pull off a third act and emotional resolution that's genuinely moving.

Wedding Doll is a small film with a unique take on coming of age and finding one's own place in a world that's often unwelcoming to people who are different.

While undoubtedly a uniquely creative and singularly emotive film, it can be all just a little too, too much.

Roofman is predominantly a one-man showcase for the full range of Tatum’s talents, but the entire ensemble is crucial for any good caper.