Ultimately, Anthropoid is quite gripping, even if it feels like two movies in one.

This is a stunningly accurate portrayal of our current climate. And it’s not pretty.

It’s behind the wheel with Miles that Ford v Ferrari becomes a well-oiled entertainment machine, a thrill ride with a driver’s-eye view of the world’s most exciting track. Everything that doesn’t work is just a distant speck in the rearview mirror.

It is a question that has vexed lovers of fine cinema for years: What if you made a teen sex comedy with grown-ups? And now, thanks to Hot Tub Time Machine, we have our answer: It would be pretty cool.

The Nightmare is a different kind of documentary, shelving the usual experts and talking heads for a more personal experience of the title subject. That's good and bad.

The acting is uniformly excellent, and the cause - dragging the beginnings of civil rights into Jackson, Miss., at great risk - couldn't be nobler. What the film lacks is a strong point of view.

Hall is a workmanlike director, taking a meat-and-potatoes approach to the story. But it fits the subject matter here. Thank You for Your Service is not a great movie by any stretch. But it is a good one, and perhaps more importantly, a necessary one.

Visually beautiful — stunning, in places — but somewhat stale in story, director Peter Sohn’s feature debut will certainly charm young audiences, and there is some nicely bracing grown-up material: love and death, the whole deal.

There are many things to enjoy — a cat named Small Frank is up there pretty high for me, as is Pfeiffer’s performance. But it snows you under with a small army of quirky characters and situations.

For all its vivid period atmosphere and striking scenes, there is a meandering quality that keeps the film from being truly involving. It's not the lack of sentiment, but perhaps the absence of any sort of momentum.

If there is a criticism to be made, it’s that Equity is just a bit too low-key to fully draw the audience in. The chiaroscuro lighting and thrumming mood music build tension slowly and surely, but never enough to make you inch forward in your seat. Just a smidgen of Gordon Gekko bombast might kick things up a notch.

Skeptical at first, perhaps a little embarrassed, but before you know it, you're having a blast.

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.

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

Eventually the film's subtlety gives way to a more straightforward conclusion. But Okuno and Monroe still make Watcher worth watching.

Prince-Bythewood proves accomplished at directing set pieces that run toward the more balletic bone-crunching examples of the genre. Theron in particular, with films like “Atomic Blonde” on her resume, is good at this sort of thing. But she’s good at the moody stuff, too.

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 cute, funny, exciting to look at but not quite magical.

It’s another showcase for Streep — nothing new on that front, but still enjoyable.

Let's not pretend otherwise: The comedy here is profane, juvenile, silly. Fine by me, because some of it also is hilarious.

It presents Perry as a likable, hard-working artist, someone you root for, even if she's not on your iPod.

Once you start this film, you might not want it to end.

Its scale and ambition at times makes it seem like more than it is: a survival story. There’s nothing wrong with that, and it’s a good one. It’s just not a whole lot more.

You don't need to be religious to enjoy the film, but anyone who grew up in "the church" will especially appreciate the subtleties.

To say Violent Night isn’t for everyone overstates the obvious. But if you’re looking for a bracing antidote to Hallmark Christmas movie treacle overload, it’s a holiday treat.

This cartoonishly violent exercise in cinematic hero worship comes at the audience with chambers loaded and fires off rounds too rapidly to worry about how vapid it all is.

Both the film and television project were directed by Martin Campbell. He creates a nice level of tension throughout, and there are a couple of legitimate shocks (including one jaw-dropper).

Dig a little deeper, however, and you’ll find … another Liam-Neeson-gets-revenge action thriller. But one with quite a few laughs thrown in amidst the unlikely ugly heroics.