Robert Daniels

This film doesn’t rumble through its 156-minute runtime; it flies by. And though “F1” has little to say about the sport’s past, present, or future, the propulsive ride it engineers isn’t a wasted diversion.

Schmaltzy yet sincere, “Elio,” the latest from Pixar, is as predictable as they come but as tender as they can get.

28 Years Later is a deeply earnest film, a picture whose sincerity is initially off putting until it’s endearing.

Similar to Lee’s public persona, “Highest 2 Lowest” is a chaos agent of a movie, the kind of lavish, unpredictable crime thriller that zips when you expect it to zoom.

While the autobiographical elements are incredibly light, there’s enough humility here to make the viewer surrender to the film’s melodic charms.

Absolute Dominion is a high-concept sci-fi flick whose many pieces move but rarely settle in satisfying positions.

A kind of mash-up of “Interstellar” and “Stranger Things,” the extraterrestrial coming-of-age sci-fi flick “Watch the Skies” is a passably enjoyable story about loss.

Hartnett and Chandran’s laid back chemistry steady the film’s turbulent tonal shifts, adding a punch that the shakily choreographed action lacks.

The only request you can make of a documentary is for it to be as interesting as its subject. Alex Ross Perry’s slippery experimental mockumentary “Pavements,” a film about the 1990s slacker band behind Slanted and Enchanted and Crooked Rain, Crooked Rain, is as gleefully idiosyncratic and as suspicious of mainstream success as the band and its fans.

Because what Havoc lacks in characters and story, it delivers in two audacious waves of indiscriminate killing that are so bruising and relentless they make the “John Wick” movies look like “Sesame Street.”

Even if Coogler doesn’t know where to end his movie, it’s tempting to be swept up in his expansive vision, if only because his intent is so firm.

G20 is an entertaining and gripping action vehicle with a deft sense of tension that is sometimes undone by its on-the-nose dialogue.

Though Pakistan is filmed with a sense of grandeur, Ibby’s return to his cultural roots is rushed and superficial. Khan’s lack of screen presence, toothless mixed martial arts sequences and unintelligible editing further knock the film down.

Technically immaculate and marked by sensorial storytelling, it’s also a film whose undeniable style can overwork the simple message it wants to tell.

Even when there’s a comically large moon that feels ripped from a Méliès movie undercutting whatever emotional drama Ayer wants to pull in the film’s climactic raid on a brothel, it doesn’t matter. Because if “The Meg,” “Wrath of Man” or “The Beekeeper” proved anything, it’s that it doesn’t matter how outlandish or overcooked the movie is. Nothing can slow down Statham.

The film’s quiet approach doesn’t rely on overworked sentimentality or melodramatic angst. It washes over you, pulling you forward toward its heart through the natural strength of its emotional tide.

When “Revelations” isn’t investigating signs, it’s a dry, psychologically driven ghost story.

As a gangster film, “The Alto Knights” does little more than putter along, taking in very few new or interesting sights along the way.

The high-concept sci-fi horror film “Ash,” a hazy story about an amnesiac deep-space explorer who awakens to discover her entire crew was killed, is light on answers but heavy on style.

Sweet and earnest, this is the kind of film that’s easy to wrap your arms around because it understands that coming of age is inherently traumatic. It needn’t be overly dramatized.

This lackluster script struggles to build a captivating story to match the allure of its expansive desert setting.

Compensation, director Zeinabu irene Davis’ masterpiece, is a film guided by the desire to represent facets of Black life and history left relatively unexplored.

This movie is anything but brave. It is the most feckless, spineless blockbuster of the last decade.

At every turn, “The Annihilation of Fish” is wonderfully surprising.

Despite Quan’s best efforts, there isn’t one square foot of this tepid film worth buying.

The film bewitches you with its seemingly spontaneous humor, a cadre of original soulful folk tunes, and its adoration of the breathtaking surroundings.

Melodically vital and bracingly frank, Questlove’s uptempo Sundance documentary “Sly Lives! (aka The Burden of Black Genius)” is a sonic kick to the soul.

It’s difficult to fully contextualize how incredible Torres is here; she matches the film’s silent grief by keenly deploying her character’s internal angst into her slender frame. Through her formidable presence, the deliberate “I’m Still Here,” a film that locates further meaning in the face of Brazil’s present Far-Right wave, remains in the heart long after the picture fades.