Pat Padua

Thanks to the director Khan — who co-wrote the script and has an obvious fondness for her characters — The Tiger Hunter transcends comic stereotypes. But its predictable success-story arc isn’t entirely convincing.

Still, the movie has a kind of optimism that is reflected in the new generation of English thespians in its young cast: Imrie is the son of actress Celia Imrie, and Serkis is the son of actor and filmmaker Andy Serkis.

White Girl vividly charts what is at times a violent culture clash. But it is the young lovers’ desperate attempt to bridge the gap between their worlds that makes the film so deeply moving.

It’s Southern-fried “The Blue Lagoon” meets “Murder, She Wrote” — and topped off with a sprinkling of “To Kill a Mockingbird.”

The debut feature from British studio Locksmith Animation, Ron’s Gone Wrong has plenty of slapstick and potty humor for kids. But adults will also be intrigued by its frequently scathing (albeit somewhat conflicted) critique of consumerism.

Despite some quality craftsmanship, “The Good Boss” ultimately doesn’t pay off. Capitalism should be more fun than this.

The documentary Hockney presents such an immersive portrait of its subject — artist David Hockney — that by the end of the film it feels like we are looking at the world through his eyes.

“Lovers” suggests that any film — even this one — can have the manipulative power of propaganda.

This taut political thriller, set amid the soulless office architecture of K Street, has an ostensibly liberal bent, but its antiheroine’s Machiavellian methods turn the film’s subject away from its cause, portraying lobbyists and politicians in a dark light.

Like its protagonist’s fleeting relationships, the film never completely connects.

If The Traitor proves anything, it’s that an 80-year-old filmmaker can still pounce.

You don’t have to understand the lyrics — or even like the music — to find We Are X entertaining, even, at times, moving.

While the young cast does its best to sell the gleeful music, its delirious premise eventually loses steam, as do the songs, which are stronger in the first part of the film. Yet despite this doomsday setting, Anna and the Apocalypse ultimately delivers an uplifting message.

Despite a few well-timed jump scares, Friend Request never really builds much tension.

The Good House has a lot of potential and features some attractive amenities, including dramatic conflict and a seasoned cast. But like a subpar property, it just doesn’t show well in a highly competitive market.

Dual takes awhile to get into gear, ending on an unresolved note. But it’s a funny and provocative struggle over the meaning of life.

What Now? is at its best when it focuses on his comic presence. Even if his jokes don’t all land, his train of thought is all you need for an entertaining performance that is funny, angry and sometimes just weird.

Dragged Across Concrete may not be the kind of movie you’d expect to emerge from such inspiration, yet the impassioned energy of those composers is echoed in Zahler’s feverish yet stubbornly patient approach to storytelling.

Dyrholm, who deservedly took the prize for best actress at last year’s Berlinale for her sensitive performance as Anna, movingly captures the struggles of a middle-aged career woman who revels in the new freedoms of the 1970s, while ultimately falling victim to them.

Even if you’re not familiar with the source material, this Chinese production provides plenty of supernatural thrills for the modern young adult.

The Angry Birds Movie 2 is not great cinema. But the animated sequel — inspired by the popular Angry Birds games, available on mobile devices and other platforms — goes above and beyond what is to be expected from such things.

To reference yet another cultural touchstone, Aporia comes across like an expanded, indie-film version of “The Twilight Zone.” It’s never going to set the world on a new and unfamiliar course, but it does its job well enough.

Despite a glorious performance by Nicolas Cage as a vicious father, this vivid satire of a world turned upside down is marred by writer-director Brian Taylor’s sloppy filmmaking.

Directed by Mary Harron from a screenplay by John Walsh, the thoroughly unengaging film is a remarkable achievement, but only considering the misspent potential of its juicy source material.

The film’s central metaphor — life is like wine — is an overripe one.

The film’s young slashers are irredeemably smug and obnoxious, and their bloodthirsty craving for social media likes, represented by heart icons that float out of their cellphones after each murder that they document — without implicating themselves — fuels a vicious satire.

This is one movie that no one needs to relive.

Its NBA all-star cast — well hidden under layers of makeup — has a winning chemistry making them easy to root for.