Montana Story is a personal film, a small story told under the Big Sky. Those skies can make any story feel epic in scope — they frame tales as mythology in a way. But in Scott McGehee and David Siegel’s film (they wrote and direct), those same skies are so grand and far-reaching they can make you lose your perspective.

It’s a zombie movie that, amidst the giddy bloodshed, allows room for philosophical questions about our fundamental responsibilities to one another. It may not be something we’ve never seen before, but it’s something we can benefit from seeing again.

It's Cooper's movie, and, although he has been good in pretty much everything we've seen him in, there is a depth to this performance we haven't seen before. It's a tricky balance: As the legend grows, the man diminishes. Cooper and Eastwood do an exceptionally good job of maintaining that.

The lunacy begins early in The Pirates! Band of Misfits and never lets up.

“No life, no music,” the Tower slogan read. For Solomon and the rest, it was more like a battle cry in a war they fought but ultimately couldn’t win.

Trapero handles the movie's pacing with a masterful ease.

There is a delightful innocence to Spider-Man: Homecoming, director Jon Watts’ take on the web-slinger that mixes some (but no too much, at least for a while) high-tech wizardry with some old-fashioned family fun.

As far as missteps go, Prince Avalanche is at least an interesting one, which is better than Green has done in awhile.

The movie ultimately winds up falling between two stools, failing as both a biography and an action film. Martial arts fans will naturally be drawn to the story, but the film does nothing to open up the world to outsiders.

For me, it doesn’t really matter if LaBeouf is letting himself off the hook, or if Honey Boy is the ultimate vanity project of a pampered narcissist. What matters is that he has plunged into the maelstrom of his own memories and emerged with a real work of art — something that feels real, feels true, even though we all know it isn’t.

Think of Julieta as Pedro Almodovar unplugged. The director tones down somewhat his signature look (loud and busy colors) and vibe (heightened melodrama) for something a little more muted in this tale of loss and tragedy.

It’s a messy story, but with Mann’s structural rigor imposed upon it. That is a powerful combination, and one that makes “Ferrari” a bizarrely compelling entry in the Mann canon.

It’s not derivative. It’s just familiar. But it also boasts two unique elements.

It's an interesting movie, odd and disturbing by design. But it's also effective.

Sherriff doesn’t offer any great answers here. It’s not like his play ended wars. But it’s a timely reminder that for all of the talk and negotiation and blustering and posturing, war means death, and “Journey’s End” brings that message home.

If you’re a fan willing to look past his misfires (or why he agreed to a “Bad News Bears” remake) or a film buff wondering about how a director operates on a set, “Dream Is Destiny” will be a delight.

Director Eran Riklis starts the film off with a playful, whimsical tone that grows increasingly darker as things progress. It reflects the life of the movie's protagonist, which finds him facing challenges that would make most people bitter.

The film, directed by Valerie Faris and Jonathan Dayton (“Little Miss Sunshine”), might have come off as too breezy were it not for the leads: Emma Stone as King and Steve Carell as Riggs.

Mission: Impossible - Ghost Protocol is big, it's loud and so relentless in its action that it reminds me of an old joke. Why do you hit yourself in the head with a hammer? Because it feels so good when you stop. In this case, the headache is worth it.

It is a brutal, beautifully shot movie that starts out to be about revenge but then becomes something more, something even more primal and disturbing.

One of Them Days is proof that a good, old-school style comedy is still achievable with perfect casting, even when it's a story we've seen time and time again.

Set in 18th-century Denmark, it's an intellectual costume drama. It's a romance involving big ideas, the biggest ideas. It's long, it's serious, it's a lot of fun.

Haynes plays up the melodrama, and the film moves along without a lot of surprises. But that gives it a certain momentum — a momentum personified by Bilott in the storage room, sorting through boxes. It’s not flashy, but it’s how you get the job done.

Simon Stone’s film, about a famous archaeological discovery, has an excellent cast, led by Carey Mulligan, Ralph Fiennes and Lily James, all in top form. It takes place just as England is entering World War II, so there’s that, too. And since this evidently isn’t enough, some romance gets tacked on, as well.

It is a quiet but intense and closely observed piece of work.

Sometimes a feel-good story hits the spot. CODA is one of those times.

Fire Island, Andrew Ahn’s romantic comedy that is basically “Pride and Prejudice” with gay men, is an utter delight.

Bros is a truly funny, smart and well-written romantic comedy about love in all its forms, and that's something we can all use more of in our lives.