The ending is deeply moving.

As the film darkens, it intensifies its focus on tragedy and atrocity and begins to do some justice to one of the largest and least known genocides in history.

It is not only the best horror film since “Under the Skin” (2013), but a subversive and often hilarious commentary on race as well.

Luke Wilson, Eddie Izzard, director Ash Brannon (“Surf’s Up”), and crew combine these ingredients into something that’s uniquely likable, and even unique-looking at times.

It is at least 10 movies in one, some of them ingenious parodies, but all adding up to a cluttered, confused anticlimax.

Unlike “Belle,” however, in this case Asante does not allow her story to be overwhelmed by period decor and costumes.

It’s the classic modern dynamic of lefty parent and tightly-wound yuppie spawn, but Toni Erdmann takes it out of sitcom territory and into something longer, richer, weirder, and ultimately a great deal more affecting.

The movie works best when it finds a balance between flatly familiar and over-aggressively unexpected.

As often happens in films about putting on plays, life imitates art, but in this instance obliquely.

Even with an improved Dornan, the movie still belongs to Johnson, a character actress capable of making light of a movie pretending to be darker.

The movie is sufficiently in touch with current comic books that it’s keen to explore Batman’s psychology — breezily, but still.

For audiences with an extremely high tolerance for brutally fetishized shootouts and bloodletting, this continuation of Reeves’s potential-filled reluctant hit man saga is electrifying, both visually and in its cracked narrative ambitions.

Here are great swaths of Baldwin’s prose, read by Samuel L. Jackson in a vocal impersonation that is actually a rather brilliant piece of acting — he convinces you it’s the writer you’re hearing.

A lean indie horror flick that manages to creep us out even before getting to the part that’s meant to be truly unsettling.

Older moviegoers may also recognize The Space Between Us as a dress-up variation on the old Jeff Bridges/Karen Allen movie “Starman” (1984), and by far the best parts have to do with Gardner’s often comic adjustments to life on Earth.

The stand-up routines — from Jackie and the pros alike — are funny and blue enough to shock a few laughs out of you, sometimes in spite of your better judgment, and the star seems once again genuinely invested in creating a character.

The movie’s best bits come when Tong’s script eases up on banter and clunky Indy homages and instead simply indulges in random zaniness.

The movie's an easy, engaging watch, even if it's literally all over the map.

Between Josh Gad’s charmingly earnest voice-over performance and more of the arthouse gloss that Hallström has drizzled on everything from “The Hundred-Foot Journey” to “Hachi: A Dog’s Tale,” it’s a weepie that can be tough to resist.

A fairly standard coming-of-age saga on its face, with an effectively pained performance by 15-year-old Lucas Jade Zumann holding center stage.

It’s a movie eager to examine the stigma of mental illness and the dynamics of victimization, to a point. Past that, it’s just distressing, narratively convenient exploitation that gets by on the strength of McAvoy’s fearless, electrifyingly adaptive performance.

It’s not a gimmick if it works, and “Tower” works unnervingly well. The film is essentially an oral history, with firsthand accounts from those who were there — survivors, responders, and onlookers — with their words read by younger actors.

The Founder is a solid, smart, worthwhile film and the only remaining mystery is why the Weinstein Company is burying it with a quiet January release rather than pushing its much-loved star into the awards race with the usual fanfare.

Paterson the movie doesn’t mine the dross and drab of our everyday lives for gold — it says they already are gold, and all you have to do is look. “Say it! No ideas but in things.” See it.

When the effusive Pedro Almodóvar adapts the minimalist Alice Munro, he reveals the passions seething under the bleakness of the latter’s monotone mid-Canada. By setting his version of the Nobel Prize-winner’s interlinked stories “Chance,” “Soon,” and “Silence” in the vibrant settings of Madrid and other Spanish locales, he adds a Sirkian twist to Munro’s Chekhovian sensibility.

Monster Trucks might not be a complete lemon, but it’s hardly cherry.

Affleck the screenwriter seems to have dumped the story onto the kitchen table and pushed it around like dough, hoping for some shape to emerge. It resists.

The concept is derivative of about a dozen other movies and their sequels.

It’s only the first week of January, but it will be hard to beat Hong Kong director Ding Sheng’s Railroad Tigers for the best opening credit sequence of the year.

The movie’s being promoted as the third in the director’s unofficial trilogy of faith, after “The Last Temptation of Christ” (1988) and “Kundun” (1997), and it feels like a self-conscious masterpiece, a summing-up from a filmmaker who, at 74, may be thinking of his legacy.

A Monster Calls is a portrait of coping that’s both fascinating and heartbreaking.

The film’s made with more heart than art and more skill than subtlety, and it works primarily because of the women that it portrays and the actresses who portray them. Best of all, you come out of the movie knowing who Katherine Johnson and Dorothy Vaughn and Mary Jackson are, and so do your daughters and sons.

More spectacular special effects might have helped, or at least something more creative than a spaceship that resembles a giant Christmas tree ornament shaped like a corkscrew. Perhaps as a well-written play for a cast of three, Passengers might have been first class. Instead, it’s just another mediocre thrill ride.

You don’t get groundbreaking cinema from Fences, but what you do get — two titanic performances and an immeasurable American drama — makes up for that.

Lion is shameless and heartfelt and you’ll probably have a good, happy cry at the end. When a story pushes buttons so deeply wired into our consciousness...craft seems almost beside the point.

A James Franco-Bryan Cranston teaming that’s not as wild as intended, but reasonably diverting just the same.

The effect is less video-game-turned-movie than zombie movie minus zombies: stilted, static, s-l-o-o-o-w. The ending couldn’t set up a sequel more clearly if “To be continued” appeared on a title card. Don’t count on it. Game on? Game over.

The result is entertainment whose pace and sound, while dizzyingly brisk at points, still accommodates characters and a setting that are terrifically rich — a menagerie more fully, memorably realized than “Zootopia.”

At best, it's unnecessary. At worst, it's vaguely insulting.

Starting with a premise that a smart-aleck high school sophomore might take pride in, the film rallies late to make some points about patriarchy and female empowerment, but not before a barrage of clichés, tweeness, and inanity.

Fred Astaire and Ginger Rogers they ain’t. Stone’s singing voice is a soulful wisp of a thing. But this is the moment that convinced me the film’s writer-director, Damien Chazelle, knew exactly what he was doing. What his stars lack in training they make up for in relatability. They sing and dance just a little better than we would.

Too well-meaning and too infused with genuine poignancy from Smith and Harris for the film to be dismissed as just a trigger for our snark reflex. But it’s a shame that the tears Smith sheds aren’t serving a better conceived story.

The cast does good work, despite a less-than-great screenplay.

Cinematic rarity — a genuinely philosophical film.

It answers most questions by the end, except the most important one: Is the devil in Miss Sloane, or is Miss Sloane the devil?

This last angle had us thinking back to “Risky Business,” as did the Chicago setting and the reveling gone off the rails. Here, though, there’s no edge to the wildness, nothing memorable.

Jackie is a chamber drama rather than an epic; an impressionistic work of emotional opera rather than a chronological parade. What is this movie trying to do? Simply dramatize everything that can go on inside a woman simultaneously marginalized and revered.

We hear from Spielberg, Martin Scorsese, several still-awed costars, one of Mifune’s sons, Kurosawa’s script supervisor, and a film sword master identified as “killed by Mifune more than a hundred times.”

The voice-over narrator (Perrin) recites environmentally pious platitudes that offer little enlightenment about what’s on the screen. This is annoying when something strange and unfamiliar is being shown.

What Allied increasingly offers is insincere sincerity: As the emotional quotient rises, so does the phoniness.

Manchester by the Sea is an experience worth having, not for the magnificence of its impact or the far-flung grandeur of its settings but for the way it illuminates with quiet, unyielding grace how you and I and our neighbors get by, and sometimes how we don’t.

Elle may be the purest distillation of his worldview yet, and it’s a terrifying thrill.

This is not a well-made film but it is an enjoyable one, in part because it’s genuinely unpredictable and in part because it’s a pleasure to see one of the great stars of his era on a movie screen once more.

If you’ve ever been fortunate enough to visit this corner of the world, you’ll instantly recognize the blissful natural grandeur that Moana captures, as well as the Pacific’s intimidating vastness.

Visually, it has the intense intimacy of a dream.

I don’t mean it as a cheap shot, but Nocturnal Animals is very like an exquisitely rendered window display. It’s something at which you pause and peer into and catch your breath — and then move on.

This is less a throwback to cutely misunderstood Molly Ringwald than to “My So-Called Life” — but with our high-school heroine stuck in a spiral like Claire Danes never knew.

Directing the film version, Lee gets lost in the grotesque pomp of the halftime spectacle and its lead-up. He gets fine performances from the actors playing the soldiers and a terrible one from Stewart, who flails her arms like an amateur. Martin’s role is beneath his talents, while Vin Diesel’s, as a Zen warrior of a sergeant, is almost beyond belief.

Teller is cornering a market on recklessness in the roles he chooses -- the energy from that demonic drum solo at the end of “Whiplash” seems to carry over into the ferocity with which Vinny pounds at life. He’s not very smart, he’s kind of a jerk, but he never, ever stops, and Bleed for This earns your respect for him.

The new film is a juicily enjoyable crowd-pleaser that works hard at expanding to fit the size of its ambitions and that wants to give the audience a high old time while slipping in reminders of how low some people may sink in the pursuit of power.

I like this movie a lot, but it may be too intimate, too slow for some moviegoers.

An opportunity to capture on film a unique cultural enclave is reduced to a Hollywood pastiche.

The movie would benefit from spending even more quiet moments with Glover.

Arrival would be nothing without Adams.

The coming of age is not just that of character but of a whole nation, and despite the mild-seeming moniker, the Jasmine Revolution earned its victories the hard way.

If Gimme Danger never quite solves the secret of Iggy’s onstage atavism — how he pushed the myth of sheer, unhinged rock ’n’ roll abandon until he embodied it better (or worse) than anyone else, ever — it reminds us of when he was, verily, the velociraptor of popular music.

In its quietly radical grace, it’s a cultural watershed — a work that dismantles all the ways our media view young black men and puts in their place a series of intimate truths. You walk out feeling dazed, more whole, a little cleaner.

A Cinderella subplot involving the prince’s scullery maid (Zooey Deschanel) is similarly both familiar and tonally refreshing, from the whimsical vocals to the disco skate that subs for a glass slipper.

The upshot: The movie develops a distinctively trippy identity.

It is epic in scope, intimate in detail, and otherworldly in its dimensions, like the Bayeux Tapestry with special effects and a stentorian soundtrack.

Ironically, the phoniness that iconic teen romantic Holden Caulfield despised pervades Jim Sadwith’s Coming through the Rye, a semi-autobiographical tale of hero worship and literary integrity.

The performances are meticulous and passionate, the narrative low-key and obliquely sensitive enough to conceal, until the traumatic incidents keep piling up, the film’s contrivance.

Elegantly depraved and immaculately degenerate, Park Chan Wook’s The Handmaiden is an astonishment. The filmmaking is masterful, very near to Hitchcock in its sly, controlled teasing of the audience.

A new movie based on Roth’s 1997 novel “American Pastoral” offers proof yet again that this writer’s great literary gifts are almost impossible to translate to the screen. Roth is a protean American inner voice. The movies, sad to say, remain better at exteriors.

Inferno is the exact cinematic equivalent of an airport paperback, which is what’s fine and forgettable about it.

Campos really doesn’t need to tack on such heavy-handed irony as the scene near the end of a disconsolate woman eating ice cream and singing along with the theme song of “The Mary Tyler Moore Show.”

Braga has hardly stopped working since, on either continent, but Aquarius is a comeback, a homecoming, and a character film in which both the heroine and the actress playing her are characters of the first order.

The best moments come in seeing Galifianakis’s costars try to keep up with him as he finally, frantically lets loose.

Is Kelly Reichardt the most under-acknowledged great director working in America right now? Her new movie, Certain Women, is one of the glories of this or any other year, but it stays true to Reichardt form, which is to say it’s low-key, allusive, lit up with implied meanings without ever leading us by the hand.

It all makes for competent but routine suspense.

Lassgård won’t let you off easy: A scene in which Ove weeps hopelessly before the magnitude of his loneliness will bring tears to the eyes of anyone who has suffered a loss. His Ove is a man indeed.

Contrived, inane, absurd, and occasionally brilliant, it’s all a blur.

The Accountant keeps you hanging on all the way to the looney-toon ending, well past the point where your higher brain functions have called it a night. It’s not a good movie but it’s not a bad way to kill a few hours.

Ironically, the film itself is as gentle and unexploitative as they come. Yes, it deserves the rating, and yes, it depicts teenagers doing things the grown-ups would rather not admit they actually do, but it does so with a poetic curiosity and a sense of what it’s like to be young, poor, and rootless — both future-less and free.

The film works adequately as a historical drama.

If only the movie had the courage to be as gonzo as it wants to be!

Produced, co-written, and directed by its star, The Birth of a Nation is very much a first film, its hesitancies disguised as bluntness, and the best things about it are Parker’s acting and his ambitions.

There’s a lot of talent here and a lot of enthusiasm; also a lot of influences that haven’t been successfully reprocessed into something convincing or fresh. It’s a mess, but a reasonably charming one.

The film’s lone strength is the fleeting dramatic scenes offering a little back story — and pathos — on Rafe’s home life with his sweetly understanding single mom (Lauren Graham, who you’d guess wouldn’t have bothered otherwise).

Kenner and Schlosser not only remind us of a danger that never went away, but honor the men whose bravery was never recognized.

It’s weird-stupid more than good-stupid.

The movie bogs down only toward the finish, when it turns into a metahuman free-for-all.

A taut, engrossing action movie about real-life heroes, so why is it a disappointment? Because director Peter Berg is telling the wrong story.

The result is a story that’s awfully scattered thematically, but one with such inventive wit and screwball-quick pacing that issues like spongy motivation hardly seem to matter.

What they don’t quite make clear, and perhaps it is impossible to do so, is what really happened in this odd episode of international espionage epitomizing movie-mogul tyranny.

John Landis’s “Animal House” (1978) this is not.

Aussie Rosalie Ham’s quirky gothic novel is too tonally erratic to be completely satisfying. But we do get two Kates for the price of one, in a sense, as this crazy quilt of a movie allows her to play both entertainingly vampy and vulnerable.

Lupita Nyong’o (“12 Years a Slave”) finally gets a movie role worthy of her status as an Oscar winner. She isn’t hidden behind pixels, as in “Star Wars: The Force Awakens” or “The Jungle Book.” You can see her. She’s magnificent.