Sara Stewart

Now this is how you do a female raunch comedy. Equal parts crass, heartfelt and goofy, Girls Trip manages to hit all the right notes.

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

As a primer on one of history’s less flashy leaders, it’s a worthwhile watch — mostly for fellow Texan Woody Harrelson’s committed performance behind those prosthetic ears.

The film doesn’t wallow in grief; it’s a thoughtful and nuanced portrait of a stage of life we often choose not to see.

This sequel to the 2004 movie is an impressive feat of animation, particularly in its action sequences.

Sparse of dialogue, terrifically ominous and full of low-key, high-quality performances, Blue Ruin is a vigilante tale even haters like me can get behind.

Clearly, the elder Scott’s aim is on the scares — and oh, what satisfying, terrifying, screams-echoing-down-a-ship’s-corridor scares they are. All the philosophical debate here belongs to the robots — which is possibly even more chilling.

Bong Joon-ho directed one of the best dystopian thrillers in recent years — 2013’s “Snowpiercer” — and one of the finest monster movies ever, 2006’s “The Host.” You’ll find elements of both in his chilling, subversive new Netflix film, Okja, about a girl named Mija (Ahn Seo-hyun) and her enormous pet superpig.

Based on the graphic novel “The Coldest City,” this film keeps its comic-book aesthetic front and center.

Whether you’re a veteran Brando-phile or a newcomer, Listen to Me Marlon is a totally fascinating glimpse into the making (and unmaking, and remaking) of a legend.

Wood and Page generate a believable, prickly sibling closeness in Rozema’s unhurried but harrowing micro-portrait of how easily civilization could crumble.

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.

Schwartzman is perfect as Kurt, simultaneously compelling, ridiculous and creepy.

Its double-barrel satire is aimed both at those who curate their lives through merrily sun-dappled photos, and their followers, who drink it in as reality.

Bennett, who’s been largely off the radar for a while, is heartbreaking and, eventually, fierce as her character begins to crave change.

A first-rate example of good storytelling and well-timed — while not excessive — gore. Its disgusting, hilarious conclusion left me eager to see what’ll be next from director Jim Mickle.

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

The sweet-faced Kelly is a lovely and humble storyteller, and her enduring affection for John, Paul, George and “Richie” is palpable.

Hogg (“Exhibition”) sets The Souvenir in the 1980s but shoots her subjects with the long-armed reserve of a period piece; the ivory-complexioned Byrne bears a resemblance to 18th- and 19th-century European portraits glimpsed throughout.

It’s almost impossible to resist The Lego Movie 2 for its continued everything-is-awesomeness, even if it does fall back on the trope of playthings terrified of being relegated to the storage bin.

Maybe my favorite thing about this About Last Night, though, is that it’s proof romantic comedies don’t have to be so predictable.

Two of Winehouse’s oldest friends also contribute, giving deeply sad accounts of watching their goofy, fearless pal disappear into a haze of flashbulbs and self-destruction.

The real treat here is the science, not the fiction. The film’s sleek aesthetic was developed in consultation with NASA about what such a mission would actually require, and look like as viewed on surveillance cameras.

Curran (“The Painted Veil”) never imposes any additional structure on Davidson’s story, which may test the patience of some viewers. But I found the sprawling, wild visuals in Tracks, and the long silences as the sunburned Robyn traverses some of the world’s least hospitable lands, meditative and moving.

Color Out of Space is full-bore, glorious B-movie Cage: Cranked up to 11, spattered with gore and bellowing about alpacas.

Davidson expertly plays the role like he’s playing . . . well, Pete Davidson, which is how I imagine his career will go.

Albert Brooks shows up as a red-tailed hawk whose desire to help clashes with his killer instincts; Dana Carvey is pitch-perfect as the ancient basset hound whose back legs are in a wheelchair.

McAdams gives one of the best performances of her career as her character wrestles with the enormous question of whether, and how, to give up everything she’s ever known.