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.