Moira Macdonald

There seem to be entire worlds behind every sentence in this film, floating somewhere just past our line of vision, calling to us as they slip away.

Does “Anna” deliver on its billing? Well, it does for a while. For its first half, the movie’s blend of earnest teen crooning and dismembered blood-geyser heads is pretty entertaining.

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

This movie, while perhaps not quite as charming as the 2000 original “Chicken Run” (lightning rarely strikes twice, even on chicken farms), is a hoot.

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

Nobody in this movie would be out of place in a glamorous old-Hollywood drama, which is kind of what On Swift Horses is trying to be — and, most of the time, coming pretty close.

Ultimately, The Electrical Life of Louis Wain is made enjoyable by its human and feline actors, despite the sadness of the material, and it left me wanting to know more about its subject, which I suppose is the point.

Ultimately Denial works, thanks to its strong cast — particularly Spall, who gives Irving a slightly mad gleefulness, and Weisz, whose smart, tough Deborah chafes against the quiet acquiescence expected of her.

While it’s still an enjoyable novelty to spend time during an action movie wondering where I could buy the hero’s boots, it’s no substitute for a good story.

Condon doesn’t shy away from the violence and tragedy at the heart of this story, but he lets us see the tender, hard-forged connection between Molina and Valentín, and also lets us disappear into a world of tinselly Hollywood beauty, just as they do.

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.

Field, carrying the movie on her shoulders and handing it to us for our approval, makes us root for wistful Doris. Single-handedly, she makes the movie work. I didn’t always believe Doris’ behavior, but I knew I wanted to see her smile again.

You can see why McAvoy was drawn to the role — it’s as if he’s playing every character in a very populated if not particularly well-scripted play — and he demonstrates a shellacked creepiness that’s effective. But Shyamalan can’t find much else that’s new or appealing in this overlong girls-in-peril exercise.

Key and Peele’s fast-talking chemistry, as they shift their language instantly from suburbanite to street (a theme in many of their sketches), make Clarence and Rell’s transformation into bellowing, gun-wielding tough guys and back again feel fresh and often very funny.

As always, it’s a pleasure to watch Branagh’s Poirot as he watches, never missing a thing; may he return, with a more worthy corpse next time around.

Sadly, Friend Request is not even the first movie to travel that harrowing Dead Girl Who Still Maintains an Active Facebook Presence road.

It was a pleasure to become happily lost in this unique film’s world of color and line, and to see two filmmakers’ mad dream come true.

This may not be quite the movie that Ederle deserves, but it’s the one that we’ve got, and it’s definitely a story worth telling.

Should you be looking for narrative cohesion, look elsewhere. “Beetlejuice Beetlejuice” is bananas, in its high-end way — bananas wrapped in gorgeous Colleen Atwood costumes, and performed by actors who are clearly having a ball.

To paraphrase a song that pops up in the film — of course it does — during one of countless swoony moments, you can’t help falling in love with this movie.

Its honesty and power makes it feel large; you live among these characters in their weary trailer park, aching for them.

Kong: Skull Island won’t win any points for the brilliance of its writing (or for the way it reduces a terrific actor like Larson to a personality-free camera-clicker) — but oh, that ape

Ultimately, her run and Roseanne for President! meet the same fate: not quite entertaining enough to qualify as comedy, nor quite thoughtful enough to take seriously.

Those who love books, picturesque English villages and getting lost in actors’ faces should be very happy

None of these stories feel monumental, and all of them resolve themselves neatly in a quarter-hour or so. But they have a kindness to them; a way of seeing people as they are, with their flaws and their goodness.

Most important: The volume of bloodletting is undeniably impressive and frequently explosive, and the filmmakers effectively employ a lot of creepy remixes of the “Swan Lake” theme.

You leave Touched with Fire wishing there were a little more to it — the screenplay needed to flesh out Carla and Marco a bit more as people, rather than Bipolar Poets in Love — but undeniably moved.

It plants its gaze on Lee — and on Elliott, who takes The Hero in his hands and makes something quietly moving from it.