Lindsey Bahr

You can see why Hold the Dark might have made a compelling book, but the film is one grim and pitiless journey.

Ultimately “Mike & Nick & Nick & Alice” has a few good laughs, some inspired needle drops, quirky references and a go-for-broke energy that should make it an enjoyable, low-stakes click.

The themes are obvious and a bit old fashioned and the trajectory is too. But that’s not a ding: It’s just a neatly constructed story that stays true to its genre and time. And hopefully, it’s not the last time Morgan and del Toro revive a hidden gem.

This does not come across as a vanity project that’s been intensely controlled by the star or the machinery around her, either. It’s refreshing. It’s also probably one of the last times we’ll all be invited into her life in this way.

Kids deserve movies that are made on the biggest possible canvas. “How to Train Your Dragon” is one that’s worth the trip to the theater. It might just spark some young imaginations, whether it’s to go back and read the books or dream up their own worlds.

As Ethan Coen finds his groove as a solo director, “Honey Don’t” might not be “The Big Lebowski” or “Raising Arizona,” but it is a swing in the right direction. At this rate, if we get the pleasure of seeing a third film, it might just be a classic.

Based on Caitlin Moran’s semibiographical novel, How to Build A Girl is a wickedly funny, sweet and vibrantly told coming-of-age story that feels like a teen classic in the making.

Tuesday is ultimately a cathartic affair, whether death is top of mind at the moment or not. And it announces the arrival of a daring filmmaker worth following.

It’s still a satisfying and fun tribute to someone whose impacts on modern food culture and celebrity are still being felt. Just don’t go in hungry.

Anyone hooked on Mare of Easttown and looking for a holdover in between episodes would be well-served by the intrigue of The Dry. It’s actually a bit of a wonder that it wasn’t stretched out into a television series itself, but Connolly has a command on the pacing and The Dry never feels rushed or undercooked.

If there is a big studio movie that’s more generally crowd-pleasing than Green Book this season, I have yet to find it.

Even though it might be difficult to watch at times, it’s done with such evident love and sensitivity that it’s hard to imagine a human being not connecting in some way, and perhaps even learning something along the way.

Dripping in neon, platitudes, sweat and fear, “Bodies Bodies Bodies"...is playful, cutting and never dull.

Regardless of your familiarity with Wilson’s Pittsburgh Cycle, “The Piano Lesson” is a worthwhile, captivating and moving watch full of charismatic performers.

Ultimately, it’s an effectively minimalistic thriller that leaves much room for interpretation and debate, and a good option for anyone looking for something creepy to watch this Halloween without the gore.

Filmmaker Raoul Peck uses George Orwell’s writings to weave together a biographical portrait of the author and a dispiriting picture of power and truth in the modern world in “Orwell: 2+2=5.”

This party isn’t worth a trip much further than living room.

It’s a sort of spiritual companion to Edgar Wright’s Cornetto trilogy, blending horror and thriller elements with absurdist comedy.

You don’t need to know much about basketball or care about Steph Curry to watch this film, though many probably will. But much like the Michael Jordan doc “The Last Dance,” this beautifully constructed (and much more economical) narrative operates on its own terms, with a beautiful score guiding the viewer through his life.

Confidently directed by David Bruckner from a clever script written by Ben Collins and Luke Piotrowski, The Night House excels in tension building —it is both unpredictable and unnervingly restrained. In other words, you’re rarely at ease for 110 minutes.

You can also excuse a lot in a film that was clearly made with its heart in the right place and a deep love for all its characters, even in their messiest, most unsympathetic moments.

It’s a smart film, certainly, but maybe not as smart as it wants to be. And there are a couple of clunkers that bring the mostly meditative experience to a halt.

Ultimately “Day One” could have been set around any old apocalypse. Tethering it to the rules of “A Quiet Place,” a smart premise whose novelty is impossible to recreate let alone build a world upon, just holds it back.

It may be more mystifying than illuminating when all is said and done, but it is certainly a uniquely captivating experience with wildly imaginative creations, interesting performances, challenging ideas and one of the best scores of the year.

There is something comforting about the fact that we are capable of intense, collective cultural whiplash. That “who cares?” can turn to uncynical amazement in an instant. Is that the magic of the movies? Of continuing to push the bounds of the big screen experience? Of betting big on weird-sounding stories about giant blue environmentalists instead of superheroes every so often? Maybe it’s just the magic of James Cameron.

All in all, it’s just a little underdeveloped. Perhaps in novel form its polite pace and subtle revelations made a certain amount of sense, but the movie is lacking.

For Miranda disciples, it’s essential. For everyone else? It is a good-natured peek at the origins of this freestyle hip-hop group, which ended up being a springboard for some pretty incredible talents

Rebecca Zlotowski’s latest... is part noir, part comedy of remarriage, and part Freudian fever dream about past lives.