Sara Stewart

Under the generous debut direction of Damon Cardasis, there’s enough heart and raw truth here to uplift the moments that falter.

Bening forgoes vanity and digs into the humiliation Grahame felt as she aged out of the vampy roles Hollywood typecast her in. Bell brings a sturdy humanity to Peter, a low-key stage actor and nice guy who’s completely unfazed by their age difference.

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.

Squanders its big ideas in record time.

As satisfying and polished as you’d expect.

At best, it’s a fairly enjoyable hate-watch of a farewell to DDL, charting the course of a twisted love affair between a real pill of a guy and a woman who inexplicably adores him.

Sure, it’s just a space Western, but “Star Wars” is one of the our most popular modern mythologies. Johnson respects that. He’s infused the storyline with new energy and artistry, and I can’t wait to see it again.

Profane, darkly funny, violent and tragic.

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.

Ultimately, this is a film from a group of terrific talents that never quite comes together the way you'd hope. It's just too fluid to wholly take shape.

Call this movie by its name: Masterpiece.

Justice League is a pointless flail of expensive (yet, somehow, cheap-looking) CGI that no amount of tacked-on quips, or even Gadot’s luminescent star power, can rescue.

It’s a tale as messy as its muddy fields, and it’s a must-watch.

With its gray skies, moody ambience and ominous orchestral score, Thelma fits the cliché about Scandinavian entertainment being dark as hell — in the best way. It’s also gorgeous.

This rural drama is the best yet from playwright and filmmaker Martin McDonagh (“In Bruges,” “Seven Psychopaths”), and one of Frances McDormand’s greatest performances.

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.

Waititi emerges triumphant, but it’s a nail-biter.

Holy moly, Melissa Leo makes a scary Mother Superior.

A thoughtful drama which sags when it tries to shoehorn its characters into by-the-numbers plot points.

A surprisingly tone-deaf combination of two wildly different stories that simply don’t work in concert.

This adaptation is so sloggy it feels like wading through thigh-deep snowfall, stained scarlet from all the gratuitous gore.

Hard to say what percentage of Haynes’ adult audience will dig this one. I found it lovely to look at and emotionally underwhelming.

Only the Brave is at its best at two extremes: in the middle of the action, as the firefighters do things like improbably light fires to contain bigger fires; and at home in the midst of banter between Eric and his wife Amanda.

Mines the increasingly fertile territory of aging boomer parents and chafing middle-aged siblings, but at irritatingly high volume, with the cantankerous voices of Adam Sandler, Ben Stiller and Dustin Hoffman nearly constantly talking over one another.

For a movie called Breathe, Andy Serkis’ directorial debut is curiously airless — or maybe just quintessentially British, all stiff upper lip and light on emoting.

If you have two X chromosomes, or know and like someone who does, Blade Runner 2049 may not be the movie for you.

Entertaining particulars aside, this trope is pretty well-worn — the game everyman who finds making illegal money easy and fun, until it isn’t.

Given its obvious parallels with modern-day events, it’s a shame Felt’s ensuing story is so wanly told.