Told from the perspective of its 9-year old protagonist, Cáit (Catherine Clinch), writer-director Colm Bairéad’s adaptation of Claire Keegan’s 2010 novella, “Foster” is as beautiful as it is devastating.

The backstory between Donny and Dame is too heavy and complex for a movie that aims to be a crowd-pleaser, but Majors and Jordan do their best to balance the material.

At an outrageously over-long 127 minutes, writer-director Christopher Landon’s adaptation of Geoff Manaugh’s novel “Ernest” feels like a different movie every 15 minutes.

This is an unapologetic audience-pleaser, though it’s not for the squeamish. Say no to drugs. Say yes to “Cocaine Bear.”

From the opening credits to its last shot barely 90 minutes later, the film never eases up on its intensity. Fans of relentless rollercoaster rides like 2019′s “Uncut Gems” and 1998′s “Run Lola Run” will find much to enjoy here.

Of an Age successfully captures the fear that the object of one’s queer affection may be straight and unwilling to reciprocate.

The Quantum Realm is definitely where the action is. Too much of it.

Panahi deftly juggles his stories, merging them together in the devastating final minutes of No Bears.

Despite the return of director Steven Soderbergh (who also serves, as usual, as editor and cinematographer), writer Reid Carolin, and star Channing Tatum, this installment pales in comparison to its superior predecessors. Dare I say, it lacks — magic?

Knock at the Cabin unfolds like a good beach novel, one you can’t put down.

Not even John Toll, who won two Oscars for cinematography, can make this movie look good. Stay home and watch the real Super Bowl instead.

Director Kenya Barris, who also co-wrote the script with Jonah Hill, intended to make an edgy, race-based cringe comedy; the result is afraid of its own shadow. This Netflix release commits an even bigger sin by wasting the considerable comedic talents of former “Saturday Night Live” castmates Eddie Murphy and Julia Louis-Dreyfus.

Director Jason Moore and writer Mark Hammer have fashioned an action movie/romantic comedy hybrid that’s too violent for comedy fans and not thrilling enough for thrill seekers. It’s not romantic at all, despite the best efforts of Jennifer Lopez and Josh Duhamel.

The Son is so concerned with trying to get an emotional rise out of the audience, to choke us with its pathos, that it fails to create believable three-dimensional characters.

Turn Every Page — The Adventures of Robert Caro and Robert Gottlieb is commendable for not only being entertaining but for also shining a light on a crucial process we don’t hear much about outside of certain professions.

Living acknowledges the bitter irony of impending death bringing a man back to life. Nighy makes it look effortless; he gives an Oscar-worthy performance that made me cry almost as much as Takashi Shimura did in Kurosawa’s classic.

Despite the film’s tendency to drag, Vicky Krieps remains compulsively watchable, as always. She almost saves the movie.

Women Talking is full of phenomenal acting by a group of actors at the top of their game. There are a lot of characters here, but even the most minor are given moments to shine.

The filmmakers clearly intended this to be a goofy rollercoaster ride, so M3GAN is a success.

As with so many foreign films that get the Americanized treatment, A Man Called Otto is completely defanged, eliminating the dark humor that made the original successful enough to command a remake.

The majesty of this film comes from how the director and his team use an often surreal mix of music, editing, sound, and image to allow the viewer to experience the world as we assume EO does.

Babylon is a labor of love that never feels laborious. But as the allusions and inside jokes pile up, they become distracting. Or they do if you care about old movies.

It’s refreshing that Lemmons focuses on the highs rather than the lows, even if it feels like buffing off the edges of her complex protagonist. But that won’t matter to Houston fans: They’ll get so emotional, baby.

The script by Paul Fisher and Tommy Swerdlow is very silly, to be sure, but everything works. The animation is well done, the music has a lovely Spanish flair, and the cast does an excellent job bringing the characters to life.

The Whale is being hailed as the comeback vehicle for Fraser. The actor has been through a lot, and he deserves roles that showcase his numerous talents. But he fails to bring humanity to this character who lives in a state of constant apology. The role feels like a cynical grab for an Oscar, which he’ll probably win as the Academy loves masochistic malarkey.

Cameron’s staging of action sequences remains unparalleled, and that buys some goodwill, but by the end of the movie, I was left with Peggy’s Lee’s immortal question: “Is that all there is?”

Director Sam Mendes tries his hand at writing an original screenplay solo, and the results are far from magical. Instead, Empire of Light strands its poorly defined characters in a nostalgia piece filtered through the director’s love of the movies. (For a better film on the same theme, watch “The Fabelmans.”)

Just in time for the holidays, director Michael Showalter has gifted viewers with a good old-fashioned tearjerker, one that earns its tears without resorting to a brute force assault on your heartstrings. Spoiler Alert operates with a lot of humor and more than a little grace.

Had “Emancipation” shaken off its Oscar-baiting “slave movie” shackles and instead gone full-tilt into a vengeance-laden “freedom movie,” it might have worked.

Unfortunately, a screenwriter’s fealty to the source material is often the kiss of death. Some things are just not translatable from a reader’s mind to a more objective and visual medium like film.

Though it hits all the expected beats, it’s the attention to the little details that makes Devotion take flight.

Clearly, Strange World is a movie about saving the environment. It is also about the bond between father and son, and how parents must let their kids forge their own paths. Hall and Nguyen deliver these messages with the subtlety of a wrecking ball, but the excellent voice-over work plus the score by Henry Jackman make the preachiness palatable and the film fun.

How much you enjoy yourself depends on whether you’re a fan of the original, or of Amy Adams.

Bratton’s unique perspective is so much more interesting when you hear him talk about The Inspection that you often wonder where it is when you’re watching it.

Craig may be the main character, but “Glass Onion” belongs to Monáe. Johnson has scripted one hell of a role for her, and she plays it with such a wide range of emotions and tones while modeling a stunning array of power suits that she drops the audience’s jaws. Monae’s performance turns on a dime with whiplash precision, so when the film folds in on itself, we grab hold of her hand for dear life. She pulls us along with such glee that it makes one giddy.

This is Spielberg’s most personal film, and it’s intriguing to watch him pay homage to the directors who made up his group of friends in the early 1970s.

The Menu might make you crave a hamburger or think twice before boarding a ferry to a private island with no cell service. But once the loose ends are tied up and the credits roll, it leaves you less than satisfied.

She Said is successful where it matters most: It shows just how easy it is for predatory men in power to be kept there by an equally corrupt system of people who either look the other way or protect them.

GdTP starts out pretty slow and doesn’t speed up for far too long — it’s the rare movie that might accurately be described as more imaginative than good — but the occasional bit of inspiration like the tree-branch proboscis encourages the viewer to hang on. It’s a nose job like no other.

Black Enough is smart, lively, and sprawling.

Coogler and his returning company of actors and behind-the-camera craftspeople work overtime to achieve a balance of quiet empathy with the big thrills audiences have come to see.

Any metaphoric meaning is left up to the viewer, who will be too busy basking in the fine performances to give it much thought.

Enola doesn’t just break the fourth wall. She tickles it, winks at it, and tugs at its sleeve. With another actress, this would be annoying. With Brown, it’s charming.

The self-congratulatory, back-patting nature of this film is what makes it so insulting.

Jenkins has given the documentary a structure that’s largely chronological but primarily thematic. The shifting around makes for a nice flow. The film moves along crisply without ever feeling hectic or rushed.

Fans of “Key & Peele” will love their latest duet. Much of their dialogue sounds improvised, and the pair work off each other like the pros they are.

Lemmons’s film is an exercise in memory disguised as Southern gothic.

Banshees is like a short story trying to be a novel. The extra pages get filled with the postcard views. There are bits of wit — again, this is Martin McDonagh we’re talking about — but overall “Banshees” is lugubrious and slow.

The Good Nurse is at its best as a medical police procedural. It helps that Noah Emmerich and Nnamdi Asomugha, playing the cops, give solid, understated performances.

This one has a tang and texture and rare sense of everyday epiphany. Just when you think you’ve got it figured out, you find out you’ve figured wrong.

Till avoids all flash. That makes it a bit didactic at times, but didacticism is a form of commitment: not so much political, though there’s certainly that, but also to emotional truth and simple human decency.

All kinds of stuff happens. Much of it is loud, confusing, and badly paced. From a superhero-movie perspective, it’s the last one of those three that’s most problematic. Leaden and flaccid are a bad combination.

Ticket is automatic-pilot smooth and formulaic familiar. It’s a romantic comedy, yes, and a star vehicle. But the category it most belongs to is airline movie — as in, a pleasure to watch in flight but less so on the ground.

Decision has real velocity without in any way feeling hectic or rushed.

School is endlessly talky, with dialogue that has the consistency of melted licorice (red or black, your choice). The one thing to be said for Theodore Shapiro’s muscularly egregious score is that the music makes it marginally easier to miss what the characters are saying.

TÁR is ambitious, unusual, forceful, and ultimately frustrating, an emotional epic that’s also a nose-against-the-glass view of classical music and unconventional take on the #MeToo movement in that world.

Stars at Noon trades too much on a tradition of older, maybe not better but certainly more urgent movies. Somewhere deep, deep in its heart is the memory of Jane Greer and Robert Mitchum.

Precise, expert execution can’t compensate for forced situations and an unenforced imaginative rigor. It’s not so much that all the characters are so unsympathetic. It’s that they’re all so uninteresting. Caricature without gusto is shrink wrap covering . . . shrink wrap.

It’s been seven years since the writer-director David O. Russell’s last movie. At its frequent best, “Amsterdam” makes it worth the wait.

The comedy is largely episodic and breezy, bolstered by strong support from Debra Messing, Amanda Bearse, Bowen Yang, Jim Rash, Kenan Thompson, Amy Schumer, and Kristin Chenoweth.

Perhaps the biggest problem with Beer Run is tonal haphazardness. Sometimes it’s meant to be funny — other times serious — other times even solemn. (Alternate title: “Chickie Learns About the Horrors of War.”) The few jokes that are clearly intentional tend to fall flat.

Thanks to its two leads, The Good House very much succeeds as character study. As narrative, it doesn’t fare anywhere near as well.

A lot of skill and imagination went into making Blonde. It’s just that they’re misplaced. The movie has its own cracked integrity. That long runtime allows Dominik to give it a slow, inexorable rhythm. Everything has a slightly underwater quality. Stardom here has more to do with miasma than glamour.

Ramsey is close to a force of nature, equally skilled at conveying Birdy’s curiosity, humor, orneriness, and not-infrequent bewilderment. In other words, she’s a 14-year-old.

Combining as it does great admiration with an acknowledgment of flaws, “Sidney” is like Ethan Hawke’s recent HBO Max documentary about Joanne Woodward and Paul Newman, “The Last Movie Stars.”

Darling never quite ignites. The closest it gets to ignition is Pugh’s performance. Styles is perfectly fine, but it’s her movie.

The Woman King lets its excellent cast weave between hubris, shakiness, and strength, achieving not just richer representation but more thrilling fight scenes, too.

That’s the ultimate dividedness of “The Silent Twins.” What feels most fresh and true in it is, literally, imaginary, June and Jennifer’s flights of fancy. What feels most leaden and movie-phony is based on fact.

Whenever Ronan’s not on the screen, “See” seems to lose something. It’s no mystery why.

Morgen’s immersive, sometimes convulsive, visual approach justifies the format. This is filmmaking that’s anything but chaste. Intentionally overwhelming, “Moonage Daydream” is indulgent and overproduced — which suits its subject.

The journey is always more entertaining than the destination, and this one’s a lot of fun.

Watching “Story,” one realizes that so much of what most of us most love about the movies isn’t the medium, per se, but its appurtenances: stardom and glamour and the pull of narrative. What Cousins loves is the medium. We love the effects. He loves the cause.

The remake is poky and overstuffed. It’s also 17 minutes longer than the 1940 original. Granted, eight minutes of that is closing credits, but still. Pinocchio’s nose isn’t all that’s wooden and too long here.

Eva Vitija’s documentary is lean and lucid and even at 84 minutes never feels hurried.

Formally, mockumentary is something of a cliché, as is intercutting of news coverage. That’s not great. It’s worse when the clichés aren’t just stylistic.

The documentary doesn’t give the sense of McEnroe as a person that Douglas’s film does. But it gives a rather astonishing sense of him as a player. With all due respect to those other McEnroe guises, that’s the one that matters.

What the movie lacks in wit it makes up for with variety.

When the movie stays focused on the three characters in the bank, it has a taut energy that glosses over some of the bumpier dialogue and easy grabs for emotion.

Even if it ultimately doesn’t quite take off, it’s a marvel of craft and care and detail. It’s also not quite like anything else.

Once the comedy does kick in, around the 100-minute mark, it does so quite nastily. The movie never quite recovers.

To the movie’s credit, it tries to balance action and thrills with domestic conflict. Perhaps not surprisingly, the family stuff feels seriously subsidiary to the scary stuff. Beast is going through the motions with father-daughter tension. The humans-as-prey tension, that’s a different story.

Jamie Foxx is always interesting to watch. His latest movie isn’t. With “Day Shift,” reach for the garlic, not the remote.

Secret Headquarters is uneven but consistently lively. There are moments of real wit (when was the last time you saw a movie use Pig Latin?), though not enough to compensate for the fairly tired, somewhat confused action sequences.

The film misses an opportunity to portray the complexity of one’s 30s — and 70s. Still, Mack & Rita is a quirky movie that reminds the audience to live life to the fullest, whatever age they are.

What Emily the Criminal really is is a character study; and this is where Plaza comes in. She’s the really good thing the movie has going for it. Over the course of 96 minutes, Emily will do some surprising things. Plaza makes them seem as natural as swiping a credit card, and in both senses of the verb.

Capturing today’s twenty-somethings is tricky enough even with a tight script (“You’re a spreadsheet with a superiority complex”), but making Zoomers realistic and ridiculous is all up to the delivery. And the cast of “Bodies” does not disappoint.

The heart of the movie is the discussions among the divers and, even more, the scenes in the caves. Simply as a technical achievement, the underground and underwater filming is highly impressive.

Luck is a somewhat confounding blend of past, present, and future. The confoundedness comes of throwback elements and visionary never quite cohering — that, and an increasingly cluttered plot turning a sweet-natured film into a bit of a slog.

Emotionally, the movie is a mess. It can be even messier tonally. As storytelling, though, “Dad” moves right along. Viewers may look away at times, but they don’t look at their watches.

Sarah Jo is a slippery protagonist, an oddball, and an enigma. But perhaps tucked within her pure, dovelike disposition is a message about the ways women’s desire can be flattened or overlooked.

Pitt’s presence makes a borderline-odious piece of work watchable.

Like many other contemporary psychological thrillers, “Resurrection” is far better at building up tension than it is in pulling together its narrative threads. It’s a little over-infatuated with its own perceived complexity, as if giving the audience any kind of conventionally plausible wrap-up is beneath its mission.

Kids will enjoy this film for the slapstick humor, but everyone will be rooting for Krypto to be lauded as a good boy.

Cumming’s performance, or presentation, is at once casual and assured, which makes it all the more compelling.

In “Vengeance,” Novak proves his chops both as an adept filmmaker and skillful satirist of contemporary mores.

A remarkable subject, the Kraffts cry out for a remarkable filmmaker.

From start to finish, you don’t know what’s coming next in Nope. When was the last time you saw a movie where that was true? Nope is deeply strange, and Jordan Peele knows exactly what he’s doing with that strangeness. It’s designedly strange. It’s coherently strange.

The movie feels increasingly tired. All that gunplay, all that traveling, all that sneering from Lloyd: Everything gets a bit . . . much.