Soren Andersen

The interweaving of animation and nonanimated footage gives the picture a kind of surreal quality that befits the sense of the survivors of how unreal the event seemed to them.

Röhrig’s performance is an extraordinary feat of minimalism. His expressions convey a deadened spirit. Yet behind his eyes and at the corners of his mouth are signs of a spirit that won’t be crushed.

Last Jedi is deep. It’s also rollicking. It’s right up there with the very first “Star Wars” in terms of its enjoyability factor. It’s a triumph.

“Fury’s” pace is delirious, the stunts are incredible — such crashes, such explosions, such a lot of flying bodies — Hardy’s performance is a marvel of subdued conviction and Theron brings an impressive gravity to her work as Furiosa. Put it all together, and you’ve got a rousing crowd-pleaser that hits on all fast-revving cylinders.

Thewlis voices Michael with weariness and despair until the character encounters Lisa. Leigh mixes eagerness...and an abashed vocal quality that emphasizes her character’s vulnerability.

At 2½ hours, Aquarius is about a half-hour too long for the story it tells, yet it feels like a privilege to be in the presence of such a powerful character and such a quietly commanding performance.

As far as truly caring about anything that goes on in this epic, well, that’s a chore. And with a run time of more than 2½ hours, that chore becomes ever more burdensome as the minutes tick away.

This is history brought to life, something absolutely unprecedented in the annals of humankind.

At more than two hours, it’s simply too long. However, thanks to Collette’s work, “Hereditary” is a horror movie that really sinks its claws into you.

Into the Spider-Verse is pure fun, nonstop from start to finish.

The movie becomes an immersive experience that sweeps the audience into all-encompassing venues of imagination.

The fight scenes, full of swordplay and gunfire, are choppily edited and somehow lackadaisical. It’s as though Schwentke was operating from a checklist of expected action-movie clichés and hurries through them all.

Complex and lively, The Wild Robot is thoroughly delightful on every level. It’s a rare treat, not just for kids but for adults as well.

Along with the kids’ sorrow, Barras works uplift and lightness into the story, and there are moments of great joy. In the end, it’s positivity that prevails.

Linklater gets it right in every significant regard.

The pacing of the picture is problematical. It’s curiously inert in the early going, with a lot of time spent in cars with the characters as they drive around and around on freeways, side streets and boulevards in Hollywood.

Shot in stark black and white, the picture’s sense of place and time is strong — pungently so.

Eggers’ depiction of the family’s psychological decay and his relentless piling up of deeply disturbing imagery make The Witch an unnerving and fresh-feeling horror masterwork.

Gosling, who previously worked with Chazelle on “La La Land,” is perfectly cast.

In this, his feature directorial debut, Möller makes a whole lot out of very little: a whole lot of dramatic forcefulness out of the most simple and basic of elements, a solitary man struggling to do the right thing.

Director Scott Cooper really lays it on thick. He brings no modulation to the horror elements in his frightfest. Everything is gloom, gloom, gloom. And doom.

There’s such a thing as something being too personal. James White is that thing.

Weirdest. Feminist. Movie. Ever.

In the midst of that hostile physical and psychic landscape, de Clermont-Tonnerre has made a stringent tale of a struggle for redemption.

Serkis again proves that in the highly specialized realm of performance-capture acting, he has no peer.

Throughout, the fragility of the native cultures and of the rain-forest environment that is their home is underscored by Guerra in this fascinating, melancholy movie.

Though his character bears Fails’ name and the picture is autobiographical, it’s not a documentary. Fails and co-screenwriter Rob Richert have embroidered on his experiences to create a story that melds realism with make-believe.

The visuals relegate the acting to secondary importance. They overwhelm the story. And they make The Assassin unforgettable.