Sara Stewart

A few university officials talk on camera, but not many do, and it will be fascinating to watch the fallout from this scathing indictment of a system that, the movie claims, has all but encouraged sexual predators to do their worst.

Ultimately, I found the story surrounding Equity — that it is a movie about women on Wall Street, financed largely by actual women on Wall Street — more interesting than the movie itself, but it does contain its share of memorable moments.

Profane, darkly funny, violent and tragic.

It’s a quiet, slow burn but one that stays with you.

Predicated almost entirely on the repeated juxtaposition of innocent girlishness and mindless violence, Violet & Daisy could still have been campy fun — instead, it wilts for lack of wit.

A refreshingly positive ode to the power of the Internet to bring far-flung artists together and change lives in the process.

Detroit may be tricked out with the Motown and miniskirts of the era, but its police-brutality narrative, assembled with firsthand accounts of that day, has chilling parallels with the here and now. It is not an easy watch, and it is an essential one.

Calm down, “Black Swan” guy. Viewers will survive; some may find, as I did, scenes he intended to be terrifying as ridiculously over-the-top. But Mother! is undeniably a wild, memorable ride. It’s a Rorschach test of a movie to interpret however you like.

Funny — sometimes brutally — and surprisingly touching, it works whether you’ve seen the source material or not, though there are plentiful shout-outs to die-hard fans.

Maggie’s Plan isn’t perfect — the threads of its plot are sometimes a little too loosely knit — but Miller’s clearly got her finger on the pulse of the New York intellectual comedy.

This comic biopic is a blast from start to finish.

Based on the book by Patrick Ness, the film belongs alongside “Pan’s Labyrinth” in the realm of darkly creative kid-centric films that are, at their core, not really kids’ fare at all.

A well worn trope that’s tough to elevate beyond eye-roll level.

A trove of home videos, vintage commercial and propaganda footage and black-and-white animation dress up this energetic if somewhat unfocused look at the birth of skateboarding in the German Democratic Republic.

You may feel echoes of “Close Encounters of the Third Kind” and “Starman,” but writer-director Jeff Nichols has ultimately crafted his own unique twist on the genre.

Pine makes a perfect foil for Gadot’s furrowed-brow sincerity, his Steve Trevor wry and comfortable enough in his skin to hold his own with Diana (even when she’s scrutinizing his naked form).

Director David Gordon Green (“Our Brand Is Crisis”) generally skips feel-good cliché to chronicle Bauman’s struggle with being painted as the face of never letting the terrorists win.

A real nail-biter of a monster movie. The question is: Who’s the monster?

Field, as usual, goes all-out; the film may be a comedy, but she attains a few moments of real heartbreak.

Yes, it’s the middle chapter and feels like it, but it’s never dull.

It’s all a delightful mess, executed with a deft touch by Jacobs.

Mistress America never falters in its case study of a complicated female friendship.

If Michael Fassbender wears a giant papier-mâché head for most of a film, is he still mesmerizing? Happily, yes.

Maggie Gyllenhaal goes from caring to creepy in this Netflix release.

If nothing else, the mere sight of two popes drinking brews and watching a soccer game together is one of the more surreal things you’ll see at the movies this year.

Reitman directs with an empathy for mothering that never shies away from its darker side.

It’s an exhilarating contrast to the weak-sauce caped crusaders who arrived at the box office last week. For a more convincing (if selectively edited) portrait in heroism, look no further than Darkest Hour.

Dan Stevens (“Downton Abbey”), as the Beast, has the heaviest lift. He’s emoting through a CGI veil that never quite feels real. But his cranky character is more engaging this time around.