Director Felix Van Groeningen unflinchingly depicts the struggles and hopes of a family affected by drug addiction in a powerfully honest movie with gut-wrenching acting.

Beetlejuice Beetlejuice relies on your familiarity with and memory of those performances. It’s a fun journey down memory lane. It won’t take you anywhere new, particularly, but let’s face it, that’s not why most people will take the trip.

The story is just so downright weird that the film can't help but be compelling. Just not as compelling as it could have been.

Director Kevin Macdonald offers a suffocating visual feast. Some of the particulars don't add up, so much so that you do notice them even as the action plows forward. But it's still a thrilling ride.

Marvel at the audacity of Nørgaard and his cast, of how far they are willing to go for a laugh. It's a bumpy ride, but for those with the stomach for it, it's an entertaining one.

McEwan, as is his wont, aims for something bigger here, the bigger questions — the biggest, even, of life and death. Thanks to Thompson’s outstanding performance, he mostly achieves what he sets out for.

Kong: Skull Island is one of those movies best described as big, dumb fun.

The mystery isn't the reason to watch the film. Bell is. She's the perfect vehicle for Thomas' sharp, sassy writing, able to deliver a pop-culture-infused put-down with ease. And yet she is also vulnerable, something her relationship with her father drives home.

Yes, it’s a boxing comeback story. But the car accident makes it different, and Teller and Eckhart make it better than it ought to be.

Although Pasikowski is heavy-handed in his filmmaking, sometimes in the extreme, Aftermath does show the danger inherent in this kind of groupthink.

Every now and then you run across a film in which a really talented cast takes a crack at a well-worn genre entry. For the most part, that’s what Permission is, though writer and director Brian Crano tosses in a couple of wrinkles.

The twists are somewhat predictable; a twist within a twist is reasonably satisfying. But this is the kind of movie that relies less on surprises than chemistry. And Pine and Newton’s is fine, nothing more. In fact their conversation is far more magnetic than their romantic scenes.

The Lesson is a quiet little film with surprisingly sharp teeth.

The film has so much potential, but it's a shame that it all falls flat.

The Void is a horror film that goes off the rails — not by accident, but on purpose. And not just a little. It’s gloriously off the rails, unhinged, absolutely bonkers.

A too-good Gru is a boring Gru. No matter how much you crank up the adorability factor or offer up the occasional laugh, there is no getting around that.

The one-note joke plays out longer and better than you might expect, at least for a while. But not forever.

It's more thought experiment than film, and although it's laudable for its daring to be unlike any film you’re likely to have ever seen, it ultimately doesn't have more meaning to import than a well-photographed daily affirmations calendar.

It’s refreshing to see a satire, rather than an hours-long documentary, about a grifter. But, unlike Anna Sorokin and Theranos founder Elizabeth Holmes (her adaptation: “The Dropout,” also on Hulu), who’s been convicted of fraud, the resolution to “Not Okay” is not as absolute.

What Sheen and Bello provide, however, is searing acting. Their performances - genuine, awkward, difficult - are not always easy to watch but never are less than tremendous.

Subtlety may not be Watkins' strong suit, but he knows how to frame a scene for maximum tension and dread.

In Wakefield’s mind, naturally, there is no life without him. It’s to Cranston’s credit that, at least for a couple of hours, we’re willing to play along.

Unfortunately, stretching things out dilutes the charms of Segel and Blunt, which are considerable.

If Free Guy really was a video game, it’s not one you’d play over and over. But as a one-time lark, it’s entertaining enough to invest in.

Attractively staged and spiced through with raunch, About Last Night is still a pleasant enough romp, even if you have no intention of returning its phone calls.

I Want You Back accomplishes what it sets out to do, and you almost can’t go wrong with this cast of hilarious people. Will it be the best romcom of 2022? Maybe. Will it be considered a classic in 20 years? Maybe not. But it is the exact film our current dating culture needs.

Jeunet's new film, Micmacs, mixes the dark, claustrophobic world of "Delicatessen" and "City of Lost Children," with the happy-ending optimism of "Amélie" and "A Very Long Engagement." It isn't a convincing graft of moods.

These are fantastic performances, even if they’re painful to watch. Una isn’t pretty, but it is powerful.