Schull's quietly commanding performance is a stunning piece of acting, in which the character seems to reveal new layers every time she's on screen.

There's plenty of gross-out humor and lots of sex jokes, some of them absurd, some really funny. But what elevates She's Out of My League - it doesn't turn a 5 into a 10, but it helps - is heart, of which its characters have a surprising plenty.

Weird: The Al Yankovic Story is like eating ice cream for breakfast. Sure, it sounds like a good idea, and for a while it actually is. But eventually it starts to feel like too much.

If you like martial-arts films, it's well worth your while, a non-stop orgy of brilliantly choreographed fight scenes. Eventually it's all too much, a blur of fists, blades and snapped bones that run together. Still, it's a wild ride.

But it’s Atwell who steps up the most. Like Phoebe Waller-Bridge’s character in “Indiana Jones and the Dial of Destiny,” her motives are fluid, which makes her more fun.

It’s nobody’s masterpiece, but it is an exceptionally promising start for Mohr, making his feature debut as a director.

It’s a good movie, so smartly directed by Ralph Fiennes, who also appears as Nureyev’s dance instructor, that at times it feels like an IQ test. But the story is intriguing and, ultimately, gripping enough to overcome all that.

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

All the actors are good, but Harrington is remarkable. It’s not just the physical changes in her character, but the genuineness with which she inhabits her.

It's wider than it is deep, but Andrew Rossi's documentary is a good primer on an issue that, in varying degrees, affects almost everyone.

Alien: Covenant is much better than “Prometheus,” in that it has plenty of scares and an actual plot, which, if sometimes predictable — all of these movies are in some ways the ultimate game of survival — is still satisfying.

Like the Guardians of the Galaxy films, The Suicide Squad has a heart. Unlike those films, we actually see a heart pierced by a shard of glass from inside a character’s body. That said, Gunn cares about the characters, and it shows.

The Beguiled is an atmospheric remake that Sofia Coppola never quite manages to take from languid to lurid.

A beautifully made, glorious mess.

Seasons is a gorgeous movie that is exceedingly strange — not necessarily in the story it tells, but in the way it tells it.

In effect this is a pretty standard overcoming-adversity story, particularly with the more politically oriented social observations removed. What isn’t standard is the acting.

Mylod, working from a script by Seth Reiss and Will Tracy, goes all in on the social commentary. Some of it is funny, some of it appalling, none of it as engaging as when Mylod uses food to make statements.

Certainly Anything’s Possible is a welcome unique entry into the high-school romance genre, with representation playing an important part. It’s not as deep or as deeply felt as it might have been, but at least it’s a start.

If there is a common thread, it's that for all these people life is not a passive activity. They live their lives, largely in the ways they've wanted to, and don't just wait around to see what's next.

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.

Smile 2 is a bigger movie in every way. Bigger isn’t necessarily better, but in this case, it’s not bad.

The sequel is even more “all about Al,” but ironically, with any question of another electoral run put to rest, the results work better as cinema.

It isn’t the kind of movie where you nitpick the details. It’s the kind of movie where you float along from one scene to the next, buoyed by catchy hits like “Golden” and “Soda Pop.” They don’t just serve the story, but drive it.

When the material falters, Sumpter and Sawyers suck you back in with their pitch-perfect performances.

Baruchel is outstanding, giving Hiccup just the right amount of confidence buried several layers beneath the shame he feels in not continuing the family business. Butler's a head-banger from way back, so he's convincing. And Ferrera gets the grrl-power vibe just right.

It's a somewhat goofy movie that also manages some real scares. Best of all, it makes excellent use of an element of vampire stories effective since Count Dracula confronted Van Helsing in Bram Stoker's novel: I know that you know, and I also know there is nothing you can do about it.

It's never less than edge-of-your-seat fun.

Visually, the movie is amazing — jaw-droppingly so. This is as technologically impressive as anything Spielberg has done, if not more so. The story, on the other hand, based on the bestselling novel by Ernest Cline, doesn’t just allow for narrative shortcuts; it practically demands them.