A startling psychological horror story with a breakout performance by Welsh actress Morfydd Clark.

As directed by Kevin Macdonald (The Last King of Scotland), it’s a steady, compelling accounting of events that intends to leave you infuriated and succeeds.

Minari is as American as apple pie and kimchi, which is to say it’s what America is all about.

Rodney Ascher directed Glitch. He’s best known for Room 237 (2012), an inspired look at several bizarre theories about Stanley Kubrick’s The Shining (1980). Glitch ups the ante on that documentary and then some. It looks at a bizarre theory about everything. The result is lively, playful, and busy — in a very good way.

It’s not hard to see the script’s appeal for the actors, John David Washington and Zendaya. Playing the only characters in the movie, they get a very serious workout and give seriously good performances.

McQueen has matters of life and death on his mind, and the final act of “Supernova” puts them on the table with a frankness that’s admirable without wholly succeeding as drama; the script’s schematic nature shows through the cracks even as the actors themselves can’t be faulted.

The movie’s a watchable affair for most of the running time, not so much subverting cliches of the serial-killer genre as keeping the audience in suspense as to how, if, and when those cliches will be observed.

This is still a rich and worthy journey, comfort food that’s also food for thought. It invites us to consider timelines longer than a day, a year, a war, and a life, and to tread carefully on the kings and commoners who might lie beneath our feet.

Animal lovers stand to flinch at the hunting scenes and other moments of violence, all of which appear to have been staged aside from documentary footage of creatures fleeing from gunshots. By contrast, the movie makes a dark but compelling case that the people on the other end of the barrel deserve whatever’s coming to them.

The movie ultimately seems to suggest that the evils unleashed upon Mexico come from a place beyond humankind, which seems an easy way out after all Magdalena and Miguel have been put through. That said, this remains a terrifying cinematic vision that can’t be ignored, from a young filmmaker who won’t be.

Preparations to Be Together for an Unknown Time is a lovely visit to a Budapest that yields its secrets more willingly than the sad, repressed woman at the story’s center.

Some things remain a mystery. If we were a little bit better as people, this decent, clear-eyed movie hints, they might not.

Director Bahrani has always buried his social concerns in story and character; he’s one of the very few American filmmakers to pay attention to this country’s poor, and he applies his creativity to the paradoxes of India without missing a step.

To be successful and Black in America, this movie says, is to tell your own story even as you live it, in the pages of a book or the grooves of a record, in the end zone of a football field or the battleground of a boxing ring. To understand the weight and importance of having to be an example. And to understand when being an example just isn’t enough.

My Little Sister comes from an unusual creative team: Stéphanie Chuat and Véronique Reymond, Swiss friends from childhood who write and direct films together. Their fourth feature, it combines a fluid visual realism — there are some astonishing sequences of Alpine parasailing — with an emotional intimacy that’s its own form of jumping off a cliff. This time, they’re collaborating with an actress willing to take a blind leap and bring us with her. It’s a bracing trip, a work of daredevil nerve that serves as its own reward.

The film is especially clear-eyed about the ways the state bureaucracy designed to help women like Sandra can sometimes stymie their best efforts.

The best moments are cinematic or actorly; the former come early and the latter are concentrated in the poised, agonized figure of the title character.

News of the World is a satisfying movie without ever becoming a great one.

Fennell is a fearsome sensibility and a talent to watch out for, and the arguments you may have after the lights come up will be well worth having. But it’s the sadness behind Cassie’s practiced smile, the wildfire fury behind that sadness, and the reasons for that fury, that may haunt you when the arguments are over.

Soul is messy, maudlin, funny, ridiculous, and poignant. In other words, it has soul.

This is more than retro, it’s a re-imagination of the past, of the stories and role models that could have been available to Black audiences (and white ones) but weren’t. Better late than never.

The sequel isn’t a disaster, but it’s a dud.

Greenland, a solid, stolid disaster film arriving on major streaming platforms this week, posits that the sky is falling, puts manly Gerard Butler in the middle of it, and asks us to be diverted by the spectacle of civic breakdown and mass panic. Are you not entertained? Somewhat surprisingly, yes.

The Midnight Sky is handsome to look at and, in its early scenes, quite engrossing. But it’s an oddly structured affair and, in the end, the director can’t keep it on course.

Hart is interested in scrambling our sympathies yet not deft enough to manage where they land, and the female buddy movie I’m Your Woman wants to be unintentionally ends up feeling like a story about a Black couple as seen by their less interesting white acquaintance.

Wild Mountain Thyme is not a good movie. Rather, it’s one that believes so deeply and joyously in its potted romantic Oirishness that the audience doesn’t have to.

If you haven’t left your house since March, this movie counts as a legitimate vacation.

A stinging, gorgeously filmed tragicomedy about male insecurity and the power of positive drinking.