Noel Murray

The movie is mostly about Mustafa himself, a loving father and husband who endures whatever he has to in order to provide for his family. But as played by Suliman — with his kind eyes and thoughtful demeanor — Mustafa’s burdens feel especially undue.

Even if viewers can’t make sense of it all, they should be able to connect to the way Van Warmerdam revisits some of his favorite themes — including the idea that we’re all actors really, struggling to remember our lines and motivations.

Although Something from Tiffany’s was shot in a festive, lit-up New York City, there’s a flatness to the look and tone of the film that keeps it from crossing the line from “something to put on while wrapping presents” to “something to watch with the whole family every Christmas.”

It takes time to adjust to the movie’s style; and some may still find the “more talk less violence” approach too inert. But many of the conversational standoffs between Read and the Krays’ gang (including a few tussles with the brothers themselves, played by Ronan Summers in a dual role) are as brutal as any shootout.

Horror hounds should appreciate all the inside jokes and references — while also wishing the movie itself were as consistently good as its influences.

Kelly tries a bit too much, favoring shock and absurdity over consistency and coherence. But the attempt alone is exciting; and it offers a refreshing alternative for those who prefer their holiday entertainment to be spooky, not sentimental.

This moving, probing, beautifully written film doesn’t completely eschew nostalgia, but like Ernaux’s books, it treats the past as a prism, casting varying light depending on how, when and where it’s held.

The actors all ham it up to a degree suited to a project so flat, cheap and derivative, which helps keep Mindcage at least watchable, if never exceptional.

Aside from some sections that deal with the studio’s financial ups and downs, there’s not really a narrative through-line. But the individual segments are often remarkably vivid, recreating Abbey Road’s unique vibe through vintage images and sounds, bringing the musicians’ memories to life.

The choice to limit the film’s scope also limits its impact; but the heart of “The Volcano” is still effectively harrowing, showing the moment when awe at nature’s wonders turns into mortal terror.

The revelations taper off in the film’s second half, sapping it of some energy as it hits the homestretch. But the characters’ despair and passion remains gripping throughout, as they force each other into some overdue reckonings with the past.

“Onoda” is an insightful portrait of fanaticism, illustrating how bad ideas can take root simply because people are naturally resistant to change.

Troll has a blockbuster polish without the Hollywood heaviness. The story’s nothing special; but the action is spry, the characters are likable and the emphasis on Scandinavian folklore keeps Troll from becoming just another generic “Godzilla”/“Jurassic Park” riff.

“Dreamers Never Die” becomes an honest, evocative and at times viscerally exciting look back at one of heavy metal’s headiest and most creative eras.

While their movie may not be all that original — in fact it actually has a few blatant homages to Quentin Tarantino that border on theft — it is strangely absorbing to see every mistake Milly has ever made pile up into one huge catastrophe.

Hunt works fine as a slam-bang action movie; but at heart it’s more of a cautionary tale.

Segan doesn’t force anything. He takes each situation and imagines what might realistically happen — and then what might happen next. He builds a world that feels real, and anchors it with a relationship so wholesome that its easy to see why a lonely vampire would upend his whole existence to preserve it.

The film is really all of a piece in the way it toys with expectations, keeping viewers off-balance. Stevens and company put the audience in the place of both the predator and prey. They’ve built a clever little anxiety-generating machine.

The film hits its stride about halfway through its running time before sputtering down the stretch. But for the most part it’s pretty snappy.

Sometimes challenging and frequently moving, this movie considers the deeper reasons why Santa Claus inspires people — historically and now — while reminding viewers that the only reason traditions are traditions is because someone did them once and then did them again. We can always create new ones.

Like its predecessor, it is enjoyably episodic, jumping from one comic vignette to another. Some of these connect, while others land with a thud. But so it goes with Christmas. Not every present is a winner.

Garcia and Prinze are so likable that it’s satisfying to see them spend an hour or so of screen time figuring out what the audience knows right away.

The overall mood is warm and cheery, and Lohan brings a spontaneous sincerity to even the corniest scenes. The movie’s wrapping is shiny and plastic, but its star quality is genuine.

Overall, this picture is a refreshing alternative to the synthetic, simplistic Christmas movies that proliferate this time of year. Ditch the mistletoe and holly and it would still be a well-crafted, well-balanced character sketch, following two lost souls as they discover what they’ve been missing.

At its best, Taurus captures the tumult of the artistic process, where happy accidents and unpleasant truths are perpetually in conflict.

The lingering trauma of Morton’s upbringing is an ongoing challenge for him, even with all of his success; and this quietly moving movie examines how the right opportunities or the wrong expectations can make all the difference in who a person becomes.

We don’t learn much about how the government or politics work in Afghanistan; and there’s very little in the way of historical background. But by giving a voice both to Ghafari and — in a few scattered scenes — her fierce opposition, In Her Hands does capture with direct immediacy how hard it can be to loosen up a culture with a tradition of rigidity.

What makes this film so fascinating is that its subject remains an enigma: a pioneer who did a lot of good and inspired a lot of people, then faded quietly away, leaving questions about who he really was.