Katie Walsh

In channeling his creative resources toward the sound of “Undertone,” Tuason conjures a lot out of a simple concept — a girl in a house. The marriage of this sound design to thoughtful, carefully placed camera movements makes for a horror film that’s a suspenseful slow burn.

With its unexpected story and businesslike filmmaking, Unlocked proves to be a satisfying thriller starring one of the most exciting current female action stars, who toils and shines in these workmanlike roles.

A tidy if bloodstained little thriller with a clever idea at its core.

The revelation here is Vaughn, who in his 6-foot-5-inch frame, physically channels the body language and gestures of an otherwise petite, cowering teen.

This movie is either in your wheelhouse or it's not, but for those looking forward to Book Club, it delivers. For what it is — a breezy bit of Nancy Meyers-like fantasy, featuring four beloved actresses talking about sex, baby — it's exceedingly enjoyable.

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.

This film is not an easy watch, provoking anxiety, discomfort and even judgment about parenting and motherhood. Her love for her son is never in question, but Grace is a wild animal, and it is at times terrifying to be asked to dive into the cracked psyche of a brilliant but troubled mind with such immediacy and presence.

[Cameron's] anti-colonialist, pro-Indigenous cri de coeur is inspiring, if a bit on the nose, but we can forgive that, because the visual spectacle is just so breathtakingly beautiful, the emotional stakes palpable, and the intention is so earnest. It’s good to be back on Pandora.

Feig stylishly waltzes us through this steamy, twisty mystery with ease, but not necessarily sophistication — this is the kind of frothy entertainment that you can still enjoyably comprehend after a glass or two, which in fact might enhance the experience.

It may not work for everyone, but those for whom it works will find much to savor and puzzle over in The Turning.

Hart and Horowitz map this hero’s journey onto her growth as a mother, her empowerment proving to be a source not just of strength, but love — a rare commodity in a crime flick.

Folk Hero & Funny Guy is an amiable road movie powered by great music. But it’s much more than just that, with deeply felt, lived in emotions capturing the ups and downs of longterm friendships, the nervous spark of a new attraction, and the power of making amends.

Despite the somewhat bland nature of the storytelling — it’s not like this documentary is pushing the boundaries of the form — it’s an incredible true story told with care and skill.

The style is busy, Affleck laying a heavy hand on the ’80s references and music cues, Robert Richardson’s cinematography mimicking the amateurish style of someone with a brand-new camcorder. But the pace flies, and the actors make the film wildly engaging.

Tangling reality and fiction into one impossible knot is at the core of this story, and the form follows that function.

The Moment works best when examining the creative tensions between people with different agendas, the small passive-aggressive tensions and second-guessing generating the ripples of conflict. But perhaps Zamiri felt those stakes were too small.

I Swear is a film that was made with a lot of bravery and heart. It’s an important extension of John’s advocacy, but it’s also deeply moving and very entertaining.

The jump-scares in the fun, funny thrill ride that is “M3GAN” elicit more giggles than groans, but there are also intriguing connections being made on “M3GAN’s” motherboard, behind the glossy surface.

The edgy and explicit Pillion might be set within the parameters of a relationship that many would consider “alternative,” but the heart of it is the same as any love story that becomes a lesson in self-love.

The lessons of compassion and empathy are profound, and remind us that tales of good triumphing over evil are evergreen, even when it doesn’t seem to be reflected in the world around us.

While McAvoy is known for his dramatic roles, and as the young Charles Xavier in the "X-Men" franchise, he's delightful when let off the leash and allowed to show off his loud, campy, unhinged side.

Thavat’s harrowing, moving film doesn’t necessarily offer justice for Bunny, but instead regards the small pieces of justice that Bunny, as misguided as she may be, ekes out for herself and her loved ones within a system that is trying to keep her down.

Christina Hodson’s script is a madcap, irreverent roller coaster ride, the story relayed in a loopy, looping, nonlinear fashion through Harley’s hyperactive storytelling style.

The torment that Maud is put through is devastating, but Suffragette, as a film, often robs itself of its own emotional power.

Jane is a genius, but she's deeply flawed and complicated, struggling with substance abuse, mental illness, her own past regrets. That dark underbelly adds depth and dimension to the ironic humor of Our Brand is Crisis.

Porter’s film is a warm biography and depiction of Lewis’ life, but there are moments where one wishes it had a bit more bite.

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.

Apatow's greatest strength as a filmmaker is an eye for charismatic performers who are just fun to be around, and The King of Staten Island is a testament to that. In Davidson, Apatow has a uniquely compelling young comedian.