Steve Pond

For all its wide-eyed embrace of murder and mayhem, the film feels rote as it goes about its bloody business.

Sprawling where “Son of Saul” was focused and frustrating where it packed a punch, Sunset is nonetheless an audacious step for a director who prefers immersion to exposition. It’s not easy, but it’ll get under your skin.

The Owners is tense, uneasy and brutal, escalating from the creepy to the ludicrous over the course of 92 deliberately unpleasant minutes.

Knox Goes Away is a character study of a disappearing character or maybe a thriller that stays away from actual thrills. However you label the film, it’s low key but satisfying.

The film is at its best in exploring the gaps between dream and reality.

While the film sometimes struggles with disparate tones, it’s a solid, subtle drama that opts in most cases for restraint over excess.

You can think of The Quarry as a subtle thriller, but it’s more of a meditation on guilt, forgiveness and redemption in the West.

EPiC is Elvis through the Baz lens, where big and bold is always preferable to straightforward and where going over-the-top is never considered a bad thing. If it’s not revelatory for people who’ve seen the existing films from the era, it’s the most imaginative, generous and entertaining look at a time in which Elvis’ comeback still had real life to it.

You could argue that Sorrentino is treading water after the deeply personal explorations in “The Hand of God,” but these are rich and mysterious waters to tread. “Parthenope” is a work of casual mastery; you could say that it’s great and it’s beautiful.

The Main Event is an easy enough ride for kids who are stuck at home and like to see people bash each other. Will parents want to stick it out, too? That’s a tougher question for a movie about magic that doesn’t really have too much magic of its own.

The film is big, brutal and beautiful — over the top at times and stirring at others.

Final Cut is silly and excessive and completely over-the-top, but it also brings out the lightness and deftness of Hazanavicus’ touch with comedy; the director somehow manages to fling body parts and bodily excretions at the audience for almost two hours, and yet you leave feeling as if you’ve seen a feel-good movie.

An imaginative, garish, occasionally corny and generally entertaining riff on the superhero genre.

A Hidden Life is certainly the director’s best movie since his 2011 Palme d’Or winner “The Tree of Life” — it’s his most monumental film since then, and perhaps his most sentimental film ever. And it is also slow and meditative, requiring viewers to sink into and surrender to that particular Malick style that some find maddening.

The film is bookended by quiet scenes between a man and a woman, by beautifully understated performances by Bloom and Balfe. Understatement in a boxing movie? If you look past the savagery of the middle hour, that could be the craziest thing about this new take on an old genre.

It’s a bold and stylish work that slips in and out of fantasy and isn’t afraid to use music and sound design as a weapon, but it can also get relentlessly dreary and oppressive, albeit by design.

In the Ferrell canon, “Eurovision Song Contest” is a workmanlike, “Blades of Glory”-level effort, never as funny as you want it to be no matter how hard it tries or how silly its actors look.

On the whole After the Wedding is a touching journey through a world where even those with the best intentions leave some wreckage behind, and where forward motion only comes with hard looks into the past.

The movie sometimes feels as aimless as moments in the lives of the characters it depicts, but that helps give it the intimacy of a story told from the inside, not the outside.

It does have an intimacy that is rare for Swift, from the opening scene of her playing piano while one of her cats walks across the keyboard to several revealing glimpses of her writing songs in the studio.

It feels as if there’s a better movie in here somewhere, lost beneath the wild-eyed freneticism and the unsatisfying exposition.

On its own terms, Monster Hunter might work as silly, frenetic entertainment, if you don’t look too close or think too hard. But if looking and thinking are on your agenda, you might also leave it with a real headache.

Impressive in its single-mindedness, this is nonetheless a movie that dares you to try and like it – and most likely, few will take Sauvaire up on that dare.

Stewart’s whole career is based on the idea that political commentary and humor go together. Yes, they do – but as Irresistible shows, they do it better when they’re in the moment.

Sure, it’s creepy as hell and very stylish to boot, but You Should Have Left essentially plays like a scaled-down Blumhouse riff on “The Shining,” only with slightly shorter hallways and considerably less ambition.

It’s nuts, it’s a mess and it’s pretty damn entertaining if you don’t mind characters pooping the bed and getting stabbed in the neck.

Driver’s Ed is mildly amusing at best. It’s a good-natured and good-hearted film without much of the edge or hilarity the Farrelly brothers brought to Dumb and Dumber or There’s Something About Mary.

Where “The Father” was subtle and twisty, this drama is more agitated and restless, even melodramatic at times – but that’s a directorial decision that certainly fits the dark and troubling subject that the film explores but doesn’t exploit.