Is Whose Streets? the only story we should see and hear about what went on in Ferguson and after? No. It’s by its nature incomplete, one side of the tale. What makes it important is that it is the side that too often goes ignored. But here, at least, no more.

It’s a movie that maybe tries to do too much, but it does enough of it well to keep you glued to the screen.

Thanks to Larson’s songs, Miranda’s directing and generous, inspired acting — particularly from Garfield, who manages to be lovable and obnoxious, depending on what’s needed — tick … tick … Boom! is a moving tribute to a misunderstood process and the people who engage in it.

Although at times maybe not enough happens, it’s still a satisfying homage to a golden age of American film and an original achievement in its own right.

Combining his eye for expressive filmmaking, a mature performance from the three main stars and a droning pop score from Trent Reznor and Atticus Ross, Challengers is a seductive feast for the senses.

Cavaye is relentless in his quest to entertain, to thrill.

If anything, the movie's third act is the only thing that feels a bit a disappointing. The plot is carefully constructed, the performances are rich (both girls are excellent), the characters are believable and a sense of dread grows throughout. Heck, the movie is even great to look at, with its period sheen and slightly muted colors.

Cozi Zuehlsdorff winningly plays a young girl who works at the hospital. With her big smile and natural warmth, she is a charmer. Even better is Gamble, who gives a smart and sensitive performance without relying on any of the normal mannerisms that often afflict child actors.

It takes a strong stomach for extreme violence and over-the-top obscenity, but if you're willing to roll with that, Deadpool is a hoot.

Hoffman wisely gives his actors plenty of room to maneuver, and that they do. It's surprisingly fun to watch them play against each other. It's not as if you're going to learn anything new from Quartet. It's too straightforward for that. But that doesn't mean you won't enjoy seeing old pros at work. And you won't be exhausted by the end of it.

If this is a story told more broadly than what we’ve seen from Pixar the past few films, so be it. It may not be a masterpiece, but its message is one that can’t be expressed enough. Luca expresses it in a gorgeous, fun way.

Carroll purists and freshman English majors may be aghast at the change in story, but for those who watched "Avatar" and marveled at the images but were left wanting by the wooden acting and tired story, "Alice" is a treat.

If you're game, "Parnassus" is a richly rewarding experience. If not, it comes off like pretentious nonsense.

Flawed but impressive, War for the Planet of the Apes finds its place comfortably, and near the top, of a surprisingly satisfying summer season. It’s a smart take on the old films, making this a series that can stand alone in its own right.

It's a well-written rom-com with rascally charm, a modest story of an awkward Brooklyn girl making a go of life. It's irreverent and rough around the edges with an imperfect protagonist, blue language, scatological humor and rambling confessional stand-up monologues, sometimes about bodily fluids. The laughs are frequent and ribald.

Much of the film is inert, like a still life with dialogue. That’s not a detriment. That’s an invitation to see a movie whose beauty stays with you long after it ends.

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).

Wonder Woman 1984 director Patty Jenkins’ long-awaited sequel, is a much better film. It’s not that it’s lacking in chaos. (With a running time of 2 hours and 31 minutes, it's not lacking in much.) It just uses chaos more judiciously. That's fitting for a film about wretched excess, about getting what you want and realizing that maybe you were better off without it.

It’s clear from the opening shots that a physically and psychically savaged post-war Poland is impossible ground for love to flower, and it’s a testament to Pawel Pawlikowski’s talent that this fatalism makes us more, not less, invested in the romance.

The best thing is that Nichol doesn’t adopt a luddite stance. He doesn’t try to impart the evils of technology, at least not much. (Some people in the film lean that way.) He’s more inclined to chronicle the joys of a fading delight, one click-clack at a time.

It would be unbearable if it weren’t so completely self-aware.

Capernaum is a tough slog, no doubt, even by tough-slog standards. But that’s a big part of what makes it so rewarding.

The Last Man on the Moon is one of those movies we didn't realize we needed, but turns out to be just the thing for our fractured, cynical times.

The characters are fully rounded, and you wind up emotionally invested in them.

Jude refuses to force a happy ending upon the audience. Things happen as they happen, and if one scene is especially hard to stomach, it leads to a kind of grim resolve to just keep forging ahead as best you can.

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.

The acting is good throughout the film, but Gladstone and Stewart are a step up from everyone else. It’s tempting to say it could have been a feature all on its own, but as it stands it’s nearly perfect, making an already solid Certain Women that much better.

Green shows us nothing lurid, nothing explicit. Instead she lets the toxicity build, bit by bit, until it’s seeped in everywhere. That’s powerful, and that’s worse, too.