Nicolas Rapold

The first installment’s critics might think this sequel further desensitizes viewers to violence along national or religious lines. It’s a movie of the current moment, which isn’t exactly a comfort.

As Denji and his adversaries converge on and above city streets, it’s possible to enjoy the combat on the level of pure sensation. Here, the rapturous ability of anime to isolate and prolong movement and emotion within a frame is on full display.

The film, which could definitely focus more on the multiple-Grammy-Award-winner’s music, peters out around 2024, a year before Ye released a song called “Heil Hitler.” But Ballesteros, who started the project when he was 18 years old, does his best to portray a reflexive iconoclast without excusing the inexcusable.

The film’s often frenetic editing tends to weaken this strong story. But this hopeless history does have the flair to deploy Depeche Mode’s “Never Let Me Down Again,” capturing the tragic absurdity to Goudreau’s ambition.

Checkpoint Zoo portrays a caged and dependent menagerie that bewilderingly experienced humans at their worst and, fortunately, their best.

A little of Sunlight, which she directs and co-wrote with Allen, goes a long way. But there’s still something to seeing a performer go for broke, purging a character’s shame and despair through a screwy, confessional sense of humor.

Impressively, nearly everything was shot by the documentary’s subjects. Yet although their double duty is an awful fact of life in Ukraine, the film lurches between its varying components and tones.

The documentary tends to linger on some assertions about sexuality in Lincoln’s era while papering over others. But the general effort of bringing to light (and potentially to history books) an underrepresented part of American experience remains vital beyond defining Lincoln’s identity.

Any deviations from the film’s obligatory timeline tour are very welcome, like a mortifying studio recording of Murry holding forth, and it’s a treat to hear the esteem for Brian among the Wrecking Crew, the storied group of session musicians.

Pine wisely avoids winks to the audience. But he whiffs at making the mystery especially gripping, leaving one instead to savor the moments, like a note-perfect Bening calmly talking Pine’s befuddled pool man through his latest setback.

Even as the movie is lampooning one trope, it keeps taking refuge in other conventions in ways that undercut the pop of its premise and make one wish for greater depth to its thought experiments.

The movie (directed by Janeen Damian and written by Kirsten Hansen) skips over Maddie savoring the outcome of her wish, and shifts right into charming comedy around her confusion, including having no memory about how she got engaged.

Stallone’s flair for words — and his references to Arthur Miller’s “A View from the Bridge” and the 1968 dynastic drama “The Lion in Winter” — make one wish he’d talked about much more than his greatest hits and misses.

The bloat saps the fun and intrigue from the film, which can’t navigate between playing up eccentricity and committing to the notion that hell can be other people (even in a one-time refuge).

Despite the impressively sweeping C.G.I. running battles in Thai fields or seaside settlements, or the gritty “Blade Runner”-lite interludes in crowded metropolises, the story’s engine produces the straightforward momentum of your average action blockbuster — one thing happens, then the next thing, complete with punchy (sometimes tin-eared) one-liners.

The story assembles before our eyes like an illustration in a manual for superspies.

It’s an intriguing scenario, though not always played out skillfully. For better and worse, we feel Charlie’s confinement fully, as he watches another’s life go by and yearns for a proper home of his own.

The movie doesn’t need to achieve the same levels of sensation as a wildly popular racing simulator, but it should convey excitement and dynamism in its own cinematic way. When the novelty of watching a gamer become a driver wears off, we’re left with an adequate racing drama in a medium built for so much more.

Its splashy, curiously filter-free adventures unfold in Italy and Germany during World War II, to sometimes awkward effect.

The film’s biggest trick might be casting Moore, Stan and the positively glowing Middleton and still never quite catching fire.

The ticktock horror plotting muffles the romantic spark that brought Maja and Leah together in the first place — the thrill replaced by a lukewarm chill.

The message of manifesting your goals reigns supreme, which is great, but it’s worth mentioning that Watson’s willpower benefits from the privileges of financial security, family support and a curmudgeonly-turned-selfless coach.

Pathaan is in some ways a save-the-world superhero movie without suits, and while less self-serious, the hefty length can lag. More is not always better — though the gusto of Padukone speedskating to the rescue at one point goes a long way.

A serviceable slab of possession horror.

It can’t fail to trigger shudders of recognition as well as feelings of release, but the filmmaking lacks a certain drama.

The actors’ chemistry feels brittle, and like many road movies it has trouble mining drama out of disparate episodes.

The film’s skimping on economic and social issues echoes one description of Biden’s own messaging by some pundits: low-key to the point of obscuring the full picture of his efforts.

Plan A never quite rises to the challenge posed by this remarkable chapter in history.