Pat Padua

Fans of the director may be a little mystified by what at first seems like something of a commercial sellout, by a director known for more challenging material. And indeed, The Whistlers has more than enough sex and violence to satisfy the average action movie fan. But dig a bit deeper, and you’ll find a mother lode of meaning just below the surface.

Harbor no illusions about Lost Illusions. It’s no stuffy costume drama. Just close your eyes and imagine its characters in modern dress, toiling away in digital publishing, and its wild delusions and deceptions could be happening right now.

It’s a treat to watch an actress at the top of her game, flexing her interpretive muscles in a showcase that is inventive and thought-provoking.

The archival footage is exciting enough, but editors Erin Casper and Jocelyne Chaput, who co-wrote the script with producer Shane Boris, make judicious use of split-screen, circular stencils and other visual effects, varying the rhythm just enough to make this world seem even more magical.

A thoroughly engrossing take on a familiar scenario.

Writer-director Radu Jude’s fascinating, cynical dramedy “Bad Luck Banging or Loony Porn” careens between lowbrow humor and highbrow philosophy, resulting in a film that is as frustrating as life itself; it’s a perfect mirror of our times.

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.

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

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.

The Witness makes an encouraging case for the argument that society is not as apathetic as we fear. But it also reveals a troubling phenomenon: our willingness to accept all that we are told as truth.

Shazam! operates as a thrilling fantasy and a comedy about the learning curve of growing up. It’s also a stirring tale of the heroic potential that lies inside each of us, if only we’re put to the test.

With its charming character animation and inventive art direction, The Grinch is a vast improvement over Ron Howard’s live-action adaptation of the same story.

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.

Overall, “Shoot First” is a breezy look at a professional whose work remains endearing, despite some highfalutin claims.

“Ash” may not hit the dizzying heights of “Sin” but, compared with “Mountain,” it’s a far more consistent and satisfying ride.

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.

The filmmakers make just as much magic on the ground as some do in space.

With a tone that shifts as much as a profile picture, Who You Think I Am is a nail-biting ride through social media anxiety.

So much of Ambulance works like a charm, but acting-wise, it could use a deeper bench.

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.

Writer-director Zach Cregger’s script takes these various paint-by-number horror elements — a vulnerable debutante, an unfamiliar house, a hidden room — and colors outside the lines.

Yelchin’s performance — grizzled, neurotic — is sadly on-the-nose, making us feel as if we’re watching the last act of a troubled young man.

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

Bergman Island is a compelling, enchanting film that works both as a relationship drama and as a conversation between one generation of directors and another. It’s almost as though Mia Hansen-Love were teaching Ingmar Bergman how to get down.

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

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.

The Boss Baby (adapted from the 2010 book by author and illustrator Marla Frazee) is a sweet adventure tale about sibling rivalry that ultimately becomes a moving tribute to family and brotherhood.

As with giallo, The Love Witch features deliberately wooden acting, and can be a little boring at times. But it’s a stunningly photographed, fascinating reinterpretation of classic melodrama.