Sonia Rao

McAdams again proves she has real comedic chops that this island, and Raimi’s direction, have only sharpened.

Almost every narrative choice is ludicrous. And yet, “Mercy” is also a hoot and a half.

At minimum, “All That’s Left of You” is a thoughtful exploration of how trauma can both fracture and bond a family. But for those who need it, the film serves as an urgent reminder of how ignorance and passivity undermine what it means to be human.

Fiennes anchors the film with his remarkably layered performance, relishing Kelson’s eccentricities while conveying the underlying anguish of a man losing his grip on what his life once was.

Riveting and darkly comedic, the film nimbly conveys the tragedies of buying into the American Dream.

Listening to “Sweet Caroline” feels like a hug — warm and fuzzy to some, smothering to others. Watching Song Sung Blue has a similar effect.

The Plague does an exceptional job of making viewers share in Ben’s growing sense of dread.

The plot simply doesn’t have enough juice.

Brooks, whose storied career includes insightful gems such as “Terms of Endearment” and “Broadcast News,” turns in a halfhearted mess of a movie that spends its entire two-hour running time trying to figure out what it wants to be.

Goodbye June is a sweet but bland Christmas film that relies too heavily on its talented cast to make up for its narrative shortcomings — a surprising choice for actress Kate Winslet’s directorial debut, until you take note of who wrote the screenplay.

What a pleasure it is to witness a masterful storyteller at work, and to see Craig lead a franchise he so thoroughly enjoys.

Eternity might start out strong, but its plot eventually runs out of steam.

Although Fleischer pulls a few clever tricks, such as when his camera angles work to deceive viewers alongside the handful of French policemen chasing the Horsemen through Thaddeus’s eccentrically designed mansion, most of the film is underwhelming.

Christy, a biopic that plays by the rules, doesn’t do justice to an athlete who gloriously broke so many of them.

An astonishing lead performance by Jennifer Lawrence keeps Lynne Ramsay’s “Die My Love” from falling apart — which is ironic, given that the new film depicts her ripping at the seams.

It’s a bold, claustrophobic movie that wouldn’t work without Byrne.

All the world is a farce, Ansari seems to say, while suggesting that it can still be saved. But like a breezy sitcom episode, his big-screen creation doesn’t feel the need to offer solutions.

This internal struggle transforms “Roofman” from what could have been a run-of-the-mill heist movie into an intriguing character study, even if it falls just short of success.

Johansson capitalizes on her cast’s innate chemistry. An accomplished performer herself, she is unsurprisingly an actor’s director. She guides the story with tenderness — perhaps to a fault, because even the most capable directing of a talented cast can’t save this movie from its central premise.

What makes My Mom Jayne remarkable is how Hargitay manages to move forward from the big reveals. This isn’t just a fact-finding mission for her, but a long-overdue reckoning.