Moira Macdonald

Having, presumably, run out of surfaces on the ground, the mad driving crew of Furious 7 resort to backing their cars off a plane and clutching their steering wheels while driving, er, falling through thin air. Why do they do this? Because it’s fun … to watch, that is.

Score, directed by Matt Schrader, breaks no new ground in the art of documentary — it’s mostly talking heads — but it’s an enjoyable walk through the art and history of the film score, with dozens of contemporary composers lending their voices.

Every dog in this sweetly earnest movie seems to have a strong sense of responsibility.

What Bradley Cooper’s beguiling A Star Is Born is very, very good at is showing us how a song can transform a person, or a moment, and how that transformation just might make us fall in love with the person singing it, for a moment or for longer.

You get caught up in the way Tucci lets a round lamp fade into a glowing moon, or how Rush’s posture suggests a lifetime of bending over a canvas, or how a face on that canvas slowly emerges, from a forest of lines — and suddenly, time passes, and art happens.

You sense that a lot of the funniest stuff is flying by too quickly to land.

The film, directed by Paul McGuigan, is basically a weepie, and it doesn’t do quite enough to show contemporary audiences why Grahame was special. But its performances make it a pleasure to watch.

Luca Guadagnino’s moody drama A Bigger Splash is, unexpectedly, a study in charisma, with two wildly different performances at its center.

If you go expecting a slightly quirky romantic drama with touches of magic realism, not to mention the pleasure of seeing Ryan in one of her rare screen appearances these days, I think you might leave happy.

Director Matt Spicer...is dealing with some fairly obvious themes; i.e. everything on social media isn’t what it seems; living your life online isn’t necessarily a good idea. But he finds much wit in the characters, and in the wicked fun the actors are having.

It’s predictable — throughout the film, I kept thinking that I’d seen it before — and a bit sentimental, yet thoroughly pleasant.

Here, the focus is on Knightley, who delivers some of her best work.

With impeccable performances — particularly an electric, extended scene between Marcus and the college dean (Tracy Letts), and Gadon, whose wistful character has a face full of secrets — Indignation is an elegant debut for longtime producer Schamus; a visit to the past, with both sunshine and darkness.

It’s a good story, well told, though you have to forgive Hood for indulging in a little journalistic cliché.

Unsane has an uncanny way of reflecting the world through Sawyer’s eyes, sometimes amplified by the medication she’s forced to take. It’s not a pretty place.

It’s pretty, it’s melodramatic-verging-on-silly, and if you like this sort of thing it’s great fun.

Though it’s fun watching Pitt swanning about in his nonchalant way — and a delight to see Kerry Condon, as a F1 technical director, finding some playful chemistry with him — this movie is entirely about the driving, and the speed.

A Quiet Place, Part II, with its skillful jump scares and sly central premise (silence is safety, noise is fear), delivers the goods, and sent me home nervously worried that something might sneak up on me — as all scary movies should. Bring on Part III, quietly.

It’s an unfinished story, which leaves Dancer slightly unsatisfying, as if we’re abandoning a book mid-chapter. But what a pleasure to wallow in the talent of a ballet rock star — and to watch a troubled young man find peace in a split-second of perfection.

It’s a compelling argument, in a film that may well change a few minds — or at least inspire some heartfelt post-screening arguing.

Byrne, a recent Oscar nominee for “If I Had Legs I’d Kick You,” holds it together.

It’s a quick, funny movie.

Hail, Caesar! isn’t the great film you might like it to be, but it’s very, very good fun.

Along the way, we learn that all four actors are not only charmingly believable as friends but also brilliant at physical comedy.

What’s fun here is both the easy charm of the four women (two of whom have a long screen history together; watch for Smith and Latifah in a shout-out to 1996’s “Set It Off”), and the range of comedy styles they display.

Despite the twee being occasionally laid on too thick, Goodbye Christopher Robin is ultimately a pleasant enough wallow in British childhood.

The Ocean’s 8 cast makes up for any deficits in its execution (Awkwafina, in particular, can make even the most mundane line funny); these women are just great fun to hang with, and I’d happily sit still for a slew of sequels.

Harriet is a handsome and surprisingly quiet film, taking the time to honor the main character’s deep religious faith.