The film is less effective, and less focused, when it switches into activism mode. Not that its heart isn't in the right place — we all know about the appalling state of institutionalized elder care. Which is the problem with those segments: We all know this already, and the filmmaking feels like perfunctory, necessary padding.

Gleeson is terrific as Faraday struggles — with his feelings for Caroline, with her feelings for him, with the notion that some of what’s going on at Hundreds Hall may not have a rational explanation. The evolution of his character is subtle, but hauntingly effective.

To call Armstrong’s story a tragedy is probably an overblown notion. But it does involve sadness, not just with its depiction of a fallen idol, but with the necessary acknowledgment that some of our own hopes and dreams fell alongside him.

What saves Meadowland from being an exercise in masochism is the acting. Wilson and Wilde have a light touch that makes them perfect for the comedies they often make. Here, Morano leads them to much darker places, and they plunge right in.

With The Family Fang, [Bateman] shows confidence with drama and, perhaps more impressively, with weirdness, never letting things get odd just for the sake of it. He wisely doesn’t force the issue. This bunch is plenty weird on its own.

Comer makes Margeurite believably vulnerable and strong, haunting at times. But it’s not clear that the film is improved by the competing narratives. Marguerite’s version probably would have sufficed.

Byrne is a delight.

As in “The Searchers,” some of the motivations are questionable and murky. Yet the pain of losing someone you love is just as palpable.

In truth, the story isn't much. Just betrayal and revenge, basically. But a couple of things make Haywire a lot of fun to watch. One is the cast.

Chappaquiddick is a study of arrogance, of power and influence wielded corruptly to cast facts into doubt.

If it is not as urgent as the first film, this is still an excellent companion piece. Together, the movies paint a complete picture of the physicality and mentality of war, and it is riveting.

Co-writer and director Chris Peckover clearly knows his way around both the holiday and horror genres, and while this isn’t the first time someone has blended the two, it is one of the more-effective efforts. It’s scary and fun, if your idea of fun involves occasional gore and torture, things like that.

It’s a messy but ultimately satisfying film, an opportunity to carry a movie that Davidson takes full advantage of.

Some elements of the film are too melodramatic, but there's not a bad performance in it -- look at the cast and that's not surprising -- and Gosling is outstanding.

Randall Park, the actor (“Fresh Off the Boat”) making his feature-directing debut with a script Adrian Tomine adapted from his graphic novel, displays a confidence here that is infectious.

There is an honesty to The Perks of Being a Wallflower, a genuineness of experience that makes the movie soar when it just as easily could have stumbled.

To call the film slight is an understatement, and its budget, particularly for a movie with genuine sci-fi elements, is miniscule. But it is so charming and sweet...and the songs are so winning that it is impossible not to fall for it.

The performances, by Brenda Blethyn and Sotigui Kouyaté, are outstanding.

It’s nearly impossible to sit through The Sapphires without a smile on your face. It’s a little shallow, sure, but, as with the girls’ troubles, when they open their mouths to sing everything feels like it’s going to be all right.

Long Shot is a love story for underdogs, whether they're gifted but out-there wackos or glamorous glass-ceiling breakers. It's unsurprising that this raunchy dark horse could charm anyone to hit the polls.

It’s the kind of movie that takes you by surprise. By the time it’s done, the honesty of the performances and the depth of character that’s revealed is exhilarating.

More than anything else, Freaky is a lot of fun. Just enjoy it.

This is one of those little movies that stays with you, the announcement of an original voice worth watching. It’s a quirky, magical delight.

If you like a little bit more in a movie — say, characters that are mildly interesting or a plot that's a wee bit logical — stay far away.

Scotty and the Secret History of Hollywood is a fascinating and undeniably irresistible look into that world. You just feel, despite Bowers' sunny disposition, a little dirty about enjoying it.

The cast, in particular Macdonald and Everett, rise above. However gritty the film may be, you want the best for these characters.

Director Lorcan Finnegan is relentless in his pursuit of disquiet. But “The Surfer” is not just an exercise in making a hard-to-watch movie. It’s also a commentary on toxic masculinity and the absurdity of bro culture that poisons X and podcasts and other forms of media.

It’s the classic example of the sequel to a really imaginative original: If the first one didn’t exist, this one would seem revolutionary. But the first one does, and Guardians of the Galaxy Vol. 2, for all its charms, will live in its shadow.

The Connection is long and occasionally long-winded and determinedly old-fashioned in its approach. That's why I liked it.

No, it’s not “The Shining.” It’s not trying to be. But it is a salve when we need one most, and that’s a lot.

It could be a really showy role, but Phoenix is patient, letting the character, and the audience, come to him. It's a journey worth taking.

Stewart proves to be an able filmmaker in Rosewater. But he also shows hints of being something more.

Welcome back, Whit Stillman -- with Damsels in Distress, the hipper-than-thou club is back in session.

Wakanda Forever misses Boseman greatly — the entire film is about missing him — but it moves the story forward in a way that seems logical and fitting.

It's a measure of how good a film Nowhere Boy is that it would be compelling even if it were the story of the formative years of a boy named Joe Brown.

No one wants to live in the past, but in The Peanuts Movie, the old stuff still stands up, while the new story is just flimsy glue holding the classic bits in place.

Whatever it is, Giamatti finds it and sells it. And despite a few dead ends with the story, I'm buying.

Director Shawn Seet’s film is surprisingly sweet and moving.

On the surface, this strange film could leave you thinking that not much actually happened during its 91-minute runtime, but it’s the idiosyncratic emotional journey, expertly portrayed by Nighy and the ensemble, rather than the destination that sticks with you.

All the actors are good, but Harrington is remarkable. It’s not just the physical changes in her character, but the genuineness with which she inhabits her.

Regardless of politics, it’s fascinating to see how the White House works.

Seasons is a gorgeous movie that is exceedingly strange — not necessarily in the story it tells, but in the way it tells it.

Coppola's audacity in not only portraying the unmoored nature of Marco's life but immersing the audience in it proves satisfying over time.

Smile 2 is a bigger movie in every way. Bigger isn’t necessarily better, but in this case, it’s not bad.

Barbershop: The Next Cut embraces the societal changes and rifts of the past decade, from Chicago’s increased violence and the Black Lives Matter movement to Barack Obama’s historic presidency, making the film an even more heartfelt love letter to Chicago.

The film, directed and co-written by Jorge R. Gutierrez, is a visually stunning, funny movie that trusts children to deal with subject matter that many films don't: specifically, death.

Some people will find Miranda July's film a poetic triumph, a meditation on responsibility and disappointment. Others will find it hopelessly pretentious, one of those movies only pointy-headed critics can abide. I found the film to be more of the former than the latter. Except when the cat talks.

It's beautiful to behold and wears its magic on its well-appointed sleeves, daring the audience to crack wise.

Shining is nothing new for McKellen, a brilliant actor, and it's interesting to see how he and Condon portray Holmes' faculties at different times.

With a performance that is wide-ranging by necessity, Kazan makes Ruby immensely likable (as well as clingy, manic, sad, happy and whatever else Calvin wants her to be).

For all its ludicrous plot twists and a mystery that falls too conveniently into place, A Simple Favor is just fun. It's light and frothy.

Do all of the aspects of the story hold up? It’s to the credit of the film and Kravitz that those questions never occur to you while you’re watching “Blink Twice.” You’re too engaged to notice.

If directors Alessandro Carloni and Jennifer Yuh don't reinvent the panda-as-martial-artist wheel, they avoid making the story seem stale. The terrific animation helps, of course.

It is McAvoy you will remember, because you won’t be able to forget his full-throttle performance.

Wonder will make you cry — that’s one of the main purposes of its existence — but it’ll also drive you a little crazy.

Sure, the hits would have been nice. But it says something about Jimi: All Is by My Side (and Benjamin's performance) that it is still a success without them.

The film is choppy in parts, but it is George Takei's approachability, his constant big laughter, even his singing (he performs "Don't Fence Me In" after explaining how the internment camps made the lyrics poignant to him) that tie it together.

Despite the lethal force that inevitably gets applied to poor Lisbeth, we never really fear for her safety, but we do fear for her future happiness. That is where the real drama lies.

The film is, like its predecessors, funny. But the joke is starting to wear just a bit thin.

The Wind succeeds on two fronts. First, the despair of isolation comes through on nearly every frame, a situation as dire as any demon. Secondly, Lizzy stays steadfast, refusing to succumb even as her husband disappears. That's a credit to the vision of Tammi, who refuses to let the The Wind devolve into a typical, and predictable, horror movie.

Writer-director Noah Buschel (he was behind the Corey Stoll boxing drama “Glass Chin”) has crafted an odd little film that is sometimes compelling, sometimes maddening.

Bacon can play just about anything, and he’s having a good time here as a guy not quite smart enough to keep himself out of trouble, but wily enough to try to dig himself out of it. It’s fun to watch.

Broderick and Röhrig's chemistry is so unusual that it works well in this strong feature film directing debut for Shawn Snyder. And that goes for the whole movie. It's so odd that viewers need to see it.

There is much to like about Avengers: Age of Ultron. There was much to love about "The Avengers," and therein lies the difference.

A funny, heartfelt look at families, relationships and the lies that prop them up as much as tear them down.

I was only able to figure out the answer to about a third of the mysteries. But the rest left a thrilling impression that made “Missing” a genuinely fun ride.

The comedy hits more than it misses; this is a really funny movie. And it’s thoughtful, in its @$*# way.

It’s a mix of good films that could have been a single outstanding one.

It doesn’t take long to suspect you are witnessing an epic fail of Alexander proportions — a visionary filmmaker pouring years of craft and ambition, not to mention millions of dollars and the talents of dozens of gung-ho actors, down the drain of a misconceived “statement.”

Reality and fantasy become increasingly blurred. And if you want to enjoy Dark Horse, you're just going to have to go with it.

The matches between Adonis and Viktor are captivating even for non-boxing fans wrapped up in the drama as slow-motion punches swing right at the camera. This deeply personal, high-stakes battle is a chance to change history for both characters who may become just as iconic as their predecessors to a new generation.

The whole cast does a phenomenal job. The movie is worth seeing purely for their performances, especially Newton, who gracefully balances the role of a caring yet apprehensive sister.

It’s a variation on a theme that Solondz has been working through his whole filmography, and when he’s successful, he convinces you to believe the worst in people and laugh at it. But when he’s not, the film can feel like punishment.

The Founder, John Lee Hancock’s film about Ray Kroc, is kind of a mess, which makes it perfect for the current political climate.

Is it going to save Hollywood? No, probably not. But it might save your Friday night, and that’s not nothing.

Ultimately “The Last Showgirl” is worth watching for its final scene alone, but a lack of character and relationship-building leads to the film being as deep as a kiddie pool.

It is scatological in the extreme and filled with absurdist and slapstick humor, particularly in the early going.

It's all brutal good fun, with laughs scattered generously throughout the bloodshed.

To put it in terms Charlie would dig, “Bumblebee” is like an 80s mixtape that’s all hits, no deep cuts. Nothing here surprises save the perspective. But that’s enough to save it.

Director Gabriela Cowperthwaite keeps things moving, but her stripped-down approach is more effective in creating the world of the characters than in showing us how they interact inside it.

It’s fun while it lasts, but ultimately forgettable, kind of like the people they stole from.

It's just a good yarn, well told. So don't be deterred by the title (it sounds like a lame horror movie) or the description.

The report is important. Its findings and the attempts to undermine them and the investigators, shouldn’t be forgotten. That The Report tries to keep these lessons in a fickle public’s consciousness is a good thing. If only anything committed to screen here were memorable.

Lafosse, along with actors Bérénice Bejo and Cédric Kahn, infuse the film with a brutal honesty that makes it, if not exactly enjoyable, certainly compelling.

The Midwife is one of those movies that could be about anything and you’d watch, so enjoyable are its lead actors.

If the film is ultimately an exercise in atmosphere, it is without question a triumph on that front. The rich textures and almost tactile visuals are astonishing.

How do you make an age-old tale that’s been told many times before feel fresh and invigorating? Hire Peter Dinklage, for starters. He makes Joe Wright’s pandemic project “Cyrano” come alive with a performance heartening and heartbreaking. Wright’s penchant for elaborate, over-the-top set pieces helps, too.

The movie is not uninteresting, but a viewer isn't breathlessly waiting to see how things will wrap up, either. By the third act, you even start to get impatient with the characters. That's not exactly a ringing endorsement.

While there is some magic here, it’s not the transportive experience it might have been.

The modern interpretation of King Arthur will entertain young viewers, eager to follow a story that doesn’t require Merlin’s magic to see where it’s headed.

The Danish Girl is beautifully shot and tastefully made and acted, but only Vikander seems willing to take chances. Happily, she does.

It’s ridiculous, far-fetched — absurdist, even. Some, or even a lot, of the jokes are stupid. But thanks in part to a terrific cast, expert timing and an all-in aesthetic, it's really funny.

A sharp turn on the romantic comedy, a movie about flawed people doing flawed things, often in funny fashion.

There are lots of laughs - a commercial Spurlock makes for Mane 'n Tail shampoo is hilarious.

Despite its flaws, Judy can leave you feeling like an emotional wreck by the end.

It's a chocolate whimsy-filled film that gives Chalamet a chance to show off and that makes it worth sitting through at least once, maybe even twice.

Like a greatest-hits album, it's not as deeply satisfying as an artist's best work (try Yen's "Ip Man"). But it will keep you entertained.

Cate Blanchett gives a ferocious performance as the steely Mapes, and she mines some genuine emotion out of the material.