There’s an intriguing story to be told here, but there’s a better way to tell it. To borrow from the Bard, the spots in Lady Macbeth simply won’t wash away.

There are few wins and more than enough sorrow to go around here.

13 Minutes, which was released in Germany two years ago, is an earnest examination of personal conscience and the frequent necessity of the individual to monkey wrench the state. Or at least to try.

Here, watching Theron is just about the whole show, and to the film’s credit, this is usually a mesmerizing rather than crass experience.

Headlining a less-than-mediocre kids’ movie taints one’s brand rather than enhancing it. Just ask Shaq.

Nolan maintains gut-wrenching suspense throughout by cross-cutting between the various characters and their plights. I’d go so far to say that Dunkirk could easily serve as its own master class in the art of film editing. Add to that an absolutely terrifyingly discordant score from Hans Zimmer and the result is, well, a bona fide classic.

Even though some of the religious and traditional aspects of the film may not travel well, its spirit is universal.

The result is a visually fantastic but sometimes exasperating entertainment that (once again) gets lost in its own chaos. It’s one funned-up spectacle of a movie.

The message here is clear: You can’t front to your true friends. This clique is ready to take on the world, and they aren’t afraid to fight dirty for each other. What can I say? Squad goals.

The B-Side is not one of Errol Morris’ finely focused film essays; instead, you may feel a desire to “shake it like a Polaroid picture” in an effort to encourage its development.

A glorious, action-and-pathos packed capstone to the rebooted Apes franchise.

However much this film strays from documented facts about Maud Lewis’ life, it still does a laudable job of presenting much of her life’s austere flavor.

Maddeningly, A Ghost Story can seem more like a creative exercise than a fully formed narrative construct.

Unfortunately, the filmmakers here have no earthly idea how to execute this nifty supernatural conceit (Barbara Marshall’s screenplay appeared on the 2015 Black List), teetering between cheap laughs and cheap thrills without doing either very well.

Spall and Meaney are mesmerizingly watchable in a film that’s 40% gruff dialogue and 60% seething silences.

The Exception’s line is not an easy one to walk, this marriage of soapy melodrama and real-world events, and with Courtney leading the parade, it’s destined for failure.

The Little Hours is a farce that doesn’t really mock anything. It exists as if amusing itself were its only objective. In that, this troupe may have succeeded, but I feel compelled to throw back the film’s favorite phrase: “What the f--k?”

There’s plenty of nifty action set-pieces on display here – including a decidedly unamazing but hilarious gag involving Spidey and a kid’s tree house – but for the first time, the most popular of all of Marvel’s 1960s-era characters genuinely focuses less on the amazing and more on the boy behind the mask, and that’s a welcome change of pace.

Even though everything about this project probably looked good on paper, upon completion The House comes up snake eyes.

Hero, here, though, might be the wrong word (and I suppose it always was for Bronson's roles). After all, the film's tag line claims that Mr. Majestyk touches the hero in all of us and indicates that this melon picker didn't want to kick ass, exactly, no matter how adept he is at it, but that he was rather forced into it.

This film wanders and dallies and much of it is fun to watch, but you really know about as much about Chaplin when you leave the theatre as when you enter, and what's missing is the magic.

The most interesting aspect of Patriot Games, however, is the casting of Ford as Ryan, given that Alec Baldwin originated the character in the preceding film. In contrast to Baldwin's rather colorless CIA analyst ill-suited for work as an agent, Ford informs his character with believable world-weariness which subsequently transforms into rage at the prospect of harm to his family. In many ways, Ford grounds Patriot Games in a degree of emotion that distinguishes it from most run-of-the-mill action thrillers.

Unfortunately, the film begins to fall apart when it leaves film parody and strays too close to reality. This film is so timely, it has the young pilots flying a bombing run on Saddam Hussein's nuclear plant. Either these filmmakers were lucky, or they made it last week. It almost seems as if the latter is true, because Hot Shots handling of Middle Eastern bad guys is just a little too heavy handed -- no, make that insulting and insensitive.

The Big Sick is as personal as it gets, but Gordon and Nanjiani pull no punches and steer well clear of preciousness. I laughed plenty at their film, cried my guts out, too, and went home elated.

The third time is definitely not the charm.

Citizen Jane: Battle for the City presents little to augment the knowledge of people already versed in this debate. However, it’s a fine introductory lesson for those who are not.

The Beguiled is a slow-burn tale of repressed sexuality and duplicitous doings. Its final twist, though, steals it from the realm of male-gaze fantasies into sheer nightmare territory.

It’s that feeling of seeing something unlike anything you’ve ever seen before. It’s the experience of witnessing the fresh, the new. And if you love movies, there’s nothing like it.