The payoffs are worth it — if you’ve got the stomach for them.

How much you enjoy all this will depend on how much you like Glazer. She’s funny, no question, and sometimes intentionally grating. But she also gives off a genuineness. Maybe she is just saying out loud what other people are thinking.

This truly is what a summer movie looks like — and yes, feels like.

Powell and Arjona have electric chemistry. It’s a joy to watch their back-and-forth — not quite the banter of classic screwball comedies, but close.

It glosses over any number of defining Winehouse moments. In the end, though, you do get a sense of who she was and why she was the way she was, and how that drove her to create such deeply soulful music.

IF integrates stunning animation, comedy and emotion for a beautiful result, a perfect choice for your next family movie night — or if you just want to relive what being a kid was like.

Schoenbrun’s direction is masterful, both in terms of what they get out of the actors (Smith and Lundy-Paine give committed performances) and in their visual language. The look of the film is both haunting and inviting — not unlike that of a nightmare, or a horror film. “I Saw the TV Glow” has elements of both, and more.

If you stick with it, Evil Does Not Exist offers rich rewards, as well as lessons, no matter how inscrutable at times.

More brains and less brawn probably isn’t a prescription for box-office success for a movie like this. But it’s a movie I’d rather see.

The Last Stop in Yuma County is a promising debut, and a welcome chance to watch some actors you’ve seen in other things get a chance to branch out a little. It’s dark fun, assuming you find watching escalating tension a good time. And why wouldn’t you?

It is incredibly stupid. Gleefully stupid. Relentlessly stupid. It’s also really funny. Is it any good? That does not seem to be a major consideration.

The Fall Guy isn’t exactly Oscar bait. Which is fine. Instead, it’s the rare movie that succeeds on its own terms, doing exactly what it sets out to do, which is entertain its audience.

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

It is scatological in the extreme and filled with absurdist and slapstick humor, particularly in the early going.

The Ministry of Ungentlemanly Warfare is everything you want in a movie: the fight scenes are bloody and exciting, the dialogue is tongue-in-cheek, every joke landed, and not one actor felt out of place.

Combining his eye for expressive filmmaking, a mature performance from the three main stars and a droning pop score from Trent Reznor and Atticus Ross, Challengers is a seductive feast for the senses.

Not at the top of the list, necessarily, but writer and director Kiah Roache-Turner’s film is a solid if unspectacular entry into the eww-gross-spiders category. It’s pretty good on that front. But when it tries to wedge in some version of Meaningful Family Drama, it loses its way a little bit.

Between the galloping pace of the action and the percussive soundtrack and sound editing, you remain tense the entire time. Garland just won’t let you relax.

It’s not trying to make a grand statement about the world, at least not any more than movies like this do... But it is trying to scare you, and it does.

Though that might not sound like the makings of a comedy, it is. And a really funny one, too.

If the purpose of Girls State is to give high-school students a taste of how government works in real life, “Girls State” makes a case that it does its job only too well.

Director Adam Wingard knows how to make a movie, as seen with 2014's "The Guest," and the visuals are well done in this film, the CGI looks nice, the shots and angles are good. What's lost here is the plot.

What Sauvaire shows in these films is the intense human emotions that infuse these dramatic action movies.

No one is going to mistake “Road House” for a masterpiece, but it succeeds far better at being what the original film set out to be.

Immaculate goes all in on the yuck, but leaves the rest high and dry.

If you’ve ever been lucky enough to find a creative partner who sees the world the way you do, the connection between Elizabeth and Alejandro will hit you joyfully and achingly.

The whole thing runs through Stewart, and she’s great — just one of those movie stars you can’t take your eyes off.

Javier Mariscal and Fernando Trueba’s film is a lot of things, almost all of them good. It’s a vibrant, colorful, animated movie. It’s a serious documentary about political oppression and violence. It’s a loving exploration of Brazilian bossa nova. The soundtrack is incredible.