Going in Style will probably be a lot more enjoyable if you’ve never seen the original. It’s not that the remake is terrible. It’s cheerful and undemanding, and an appealing cast makes the time go by painlessly enough. But the 1979 film is poignant and layered.

This fully animated reboot embraces the Smurfs Saturday-morning-cartoon roots and creates a sprightly, brightly colored, age-appropriate adventure for young children fresh to the little blue woodland creatures.

Ghost in the Shell sidesteps questions of humanity and the effect of technology on the human spirit and opts instead for boilerplate sci-fi spectacle, eschewing existentialism for predictable plot and the glittery trappings of its 21st-century carapace

It’s a good movie about great heroism, and you wish it was more.

Naharin’s dances, amply illustrated from decades’ worth of film, is visceral, emotional and sometimes shocking.

The film gets gory toward the end, and as with most horror films, the climax isn’t as satisfying as the build-up. But Perkins builds layer after layer of dread, so that when an explosion finally occurs, it’s almost a twisted relief.

Part of the problem is that, in trying to convey the chaos of abject fear, Espinosa makes it hard to figure out the architecture of the ship, so we don’t know where anyone’s running.

It’s as if Boyle is saying he isn’t afraid to visit the past. And he does it about as successfully as one could — T2 is a movie worth seeing and enjoying if you’ve seen the first film (less so if you haven’t). What he’s not as successful at is telling us why.

The tone is so uneven, the shifts so jarring, that they overtake the movie’s modest pleasures.

Raw is a lot of things: a terrific feature debut by a promising filmmaker; an effective metaphor; an acting showcase; and, not least of all, a gross-out horror film.

Song to Song isn’t the sleepy disappointment Malick’s last two films were, but it’s hard not to wish he’d wake up.

CHIPS is a miserable movie, an exercise in stupidity that takes whatever nostalgia one had for the late-1970s television series – this assumes anyone actually had nostalgia for it — and beats it to death on a bed of idiocy. The action scenes, though, are pretty well-directed.

Personal Shopper draws you in, interesting from all angles.

At its best Power Rangers plays a little like a low-rent “Breakfast Club.” Unfortunately it’s not always at its best, and when it’s not, you get exactly what you’d expect: generic teen hero fare.

Love & Taxes is an odd little title for an odd little movie, and yet it delivers exactly what it promises. And in an entertaining way.

It’s quite good, thanks to the sturdiness of the story, the jaw-dropping visuals and, most importantly, the one thing the first film didn’t offer: Emma Watson.

The Sense of an Ending is a twisty tale of time and memory that owes most of its compelling nature to Jim Broadbent.

Table 19 is an odd little movie, and a frustrating one.

If it wasn’t for her, it would be near-unwatchable.

There are some funny bits here, and younger comics like Sarah Silverman push the limits even farther; to the minds of some, they cross them.

This isn’t a war movie; it’s an after-the-war movie. But the battle lines are still drawn, and every ragged breath the film takes braces for an explosion.

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

The film is unexpectedly compelling, even if you’re not a teenage girl, though being one certainly wouldn’t hurt.

Logan is a serious take on the comic-book genre, the Marvel Cinematic Universe in particular, and it’s a good one. Not a great one, though, which it might've been if it hadn’t gotten in its own way, overdoing it with its R-rated freedoms.

Sneider, who keeps the tone starkly unsentimental, manages to stay fairly neutral with the couple. Both characters are wildly flawed, and you can feel your sympathies shift during their knock-down, drag-out fights.

Bitter Harvest, bless its low-budget heart, means well. But George Mendeluk’s film, about the Holodomor, the forced famine and starvation that killed between 7 and 10 million Ukrainians, falls well short of its ambitions.

The filmmaking is gorgeous and unsettling, giving the Midwest of the early 1980s a Gothic feel. The acting is hit or miss — two performances stand head and shoulders above the rest — but it’s the story that never quite gels.

A scathing examination of race, a take down of phony liberal sympathies that sticks it to racists of every stripe.