Michael Ordoña

Rams isn’t earth-shattering, but real-feeling and engaging, with a strong cast and fine sheep and a good dog.

“Dicks” can’t maintain that level of performative thrust all the way through; it sags a bit in the middle, as one might expect from making the considerable jump from the stage and through the hoops of major revisions. But the film bounces back toward its back nine.

The film mixes horror elements with surreal fantasy and the crushing realism of a serious family drama. It’s metaphorical, vague but also precise in its specificity for the horrific trials these people are to face — their personal hell.

It’s smart and engaging once it gets going and presents a tense, fun labyrinth for viewers to navigate. One just wishes the cheese at the end were more rewarding.

Boss Level takes a well-worn gag and injects energy, showing the genre is still a game worth playing.

A breezy, energizing and fun look at the hip-hop and improv theater collective

The point of DiMaria’s absorbing and passionate documentary is there was much more to his uncle than being one of the “others” in an infamous murder spree.

The movie is Barrymore’s, of course. Even after the initial jolt of seeing her as a cursing hellion and an ambitious hanger-on wears off, she does not disappoint.

Migration isn’t exactly unique, but it’s different enough. And in today’s factory filmmaking, that’s almost as unlikely as milking a duck.

While the result may be scattershot at times, the achievements of these badass professionals are worth a look — especially if, like this writer, you believe an Oscar category for stunt performers is long overdue.

The story is struck from a familiar template: inactive protagonist, dead parent, worries about popularity, a regional competition looming. But the film distinguishes itself from there, largely due to the direction of “Fast Color’s” Julia Hart.

The film, based on Romain Puértolas’ novel, has clever touches and is consistently engaging, if meandering.

What audiences are likely to come away with most of all is a pondering over how these many sides could coexist in the same person, perhaps wondering what they think of him — and finding it difficult to arrive at an answer.

The film of Howl, like its source material, is undeniably brave, committed and inventive.

As the film focuses more tightly on [Ressa], it becomes a more gripping document. And it certainly is gripping, as the cloud of menace threatening her becomes firmer.

The story moves crisply, though with all the twists and the lack of introductions to the main players, it’s not easy to follow at first. The fights and chases are handled expertly (the “action director” is Jung Doo); they’re dynamic but believable and deliver emotional impact.

The Princess is an unabashedly feminist action-adventure in which the central character rises from her dormancy to slash the patriarchy. It couldn’t be more timely, and it’s a good time too.

Its narrative flaws (and there are serious ones) are more or less overcome by its compelling protagonist and the loving marital relationship at its center.

The whole point of this illuminating and often moving film is that all of these people have a tale to tell — and one that’s not as simple as Hollywood would have it.

The story of that one miserable shoot is still a useful way to consider both the brilliance of Sellers and the damage he wrought, as well as demonstrating the ludicrous leeway granted to celebrities and the ways that obvious warning signs of possible mental illness often went unheeded.

Doesn't offer moviegoers one obvious message, but rather a complex and considered glimpse into a rarely seen world, one of utter absurdity and horror.

Despite traversing such a familiar track, “F1” delivers something made expressly for the big screen experience. What keeps it from being purely the kind of “theme park” Martin Scorsese demeaned in his criticism of Marvel movies is the Pitt of it all; fortunately for “F1,” it’s always Sonny on the human side.

Nothing here is especially revealing or deep; but the doc is pleasantly positive, and it does have something to say about how the expectations for dads today are higher than ever.

It’s light on the science and heavy on the action.

Ultimately, it’s about the bonds of sisterhood and how those who know you best and love you most can help you heal, or at least start you on that path. Its vagueness serves almost as a Rorschach test. How effective it is as a drama may depend on your perspective.

The dialogue can be clunky and easy to guess in advance, and there’s an unfortunate reliance on jump scares. The thing to remember is this is all part of a larger story, and without spoiling anything, that story does get significantly more interesting.

It’s more of the same, for better or worse, but likely with enough bells and whistles — especially those new characters — to please younger fans.

The handcrafted feel of the film is mainly a virtue, setting it apart from the vast majority of animated fare.