If the movie finally doesn’t succeed, that’s because Spielberg has paid too much attention to all those police cars (and all the crashes they get into), and not enough to the personalities of his characters.

The film exists as an unforgettable experience, but not as a comprehensible one.

With a dialogue-driven, authentic screenplay by Alanna Francis, an effectively poignant score by Owen Pallett and powerful work by Kendrick and Kaniehtiio Horn and Wunmi Mosaku as Alice’s best friends, this is the kind of intimate drama that sticks with you long after the viewing experience.

In the hands of the Danish director Tobias Lindholm and screenwriter Krysty Wilson-Cairns (“1917,” “Last Night in Soho”) and thanks in large part to the towering twin performances of the equally chameleon-like Chastain and Redmayne, The Good Nurse is a solid albeit conventional medical thriller that overcomes a few plodding stretches and ends in bittersweet fashion.

With clear and obvious influences from films such as “Joker,” “The King of Comedy,” “Whiplash” and, most prominently, “Taxi Driver,” writer-director Bynum and Majors team up for a disturbing and blistering case study of a man who feels utterly unseen and is obsessed with making a name for himself.

Here is a film that, for all of its plot, depends on characters in service of their emotional turmoil. It feels good to see Coppola back in form.

The real subject of the film is Douglas Bruce sitting on two years of memories and told there is a 95 percent chance that another 30 years may return to him. A lot of people don't want to know when they're going to die. Maybe they wouldn't want to be reborn, either.

Based on a short story from Joe Hill and directed with tone-perfect style by Scott Derrickson, who wrote the screen adaptation with his “Doctor Strange” writing partner C. Robert Cargill, The Black Phone is a hauntingly effective, perfectly paced, consistently chilling and wickedly warped horror gem.

The naturalism of Anne Fontaine's film would be at home in a novel by Dreiser. Her star Audrey Tautou, who could make lovability into a career, avoids any effort to make Coco Chanel nice, or soft, or particularly sympathetic.

This movie by its nature is not thrilling, but it is very genuinely interesting, and that is rare.

I liked this movie a lot - not just for Bacon and Renfro, but also for the work of the wonderfully-named Calista Flockhart, as the girl who dates Karchy.

The Parallax View will no doubt remind some reviewers of Executive Action, another movie released at about the same time that advanced a conspiracy theory of assassination. It's a better use of similar material, however, because it tries to entertain instead of staying behind to argue.

A dark, grisly, horrifying and intelligent thriller.

Most dances are for people who are falling in love. The tango is a dance for those who have survived it, and are still a little angry about having their hearts so mishandled. The Tango Lesson is a movie for people who understand that difference.

Writer-director Hiroyuki Okiura, however, does not match the high expectations for story and design set by other Japanese animators.

Klaus is a weird, meandering tale — but it has a distinctive visual style and a sly sense of humor and features brilliant voice work from the ensemble cast.

This isn't the kind of movie that even has hope enough to contain a message. There is no message, only the reality of these wounded personalities.

This isn’t so much a traditional musical drama a la “Wicked” as it is a turgid, heavy-handed and preachy melodrama interspersed with musical numbers that are serviceable but hardly memorable.

The parts work even if the whole leaves me uncertain. Many movies are certain about their whole, but are made of careless parts. Forced to choose, I would take the parts.

This is the best-looking horror film since Coppola's "Bram Stoker's Dracula."

A cheerful, life-affirming film, strong in its energy, about vivid characters. It uses mental illness as an entertainment, not a disease.

Sweet Dreams begins with more energy than it is able to sustain.

The last act of A Brilliant Young Mind is undeniably moving but not entirely believable and a little too neat and clean. Still, long after you’ve seen the film, you’ll remember the wonderfully nuanced work of the cast.

Altman's approach in Vincent & Theo is a very immediate, intimate one. He would rather show us things happening than provide themes and explanations. He is most concerned with the relationship that made the art possible.

Polanski's film is visually exact and detailed without being too picturesque. This is not Ye Olde London, but Ye Harrowing London, teeming with life and dispute.

Hostiles is not for the faint of heart, but it winds up being about having a heart in a world that seems almost without hope.

Upon leaving the theater I had a feeling like I just got to know a bunch of kids: some great, some annoying, but all living lives that extend beyond what little I saw of them on the screen.

An enjoyable and slick little thriller with a brilliant cast of actors clearly having a good time sinking their teeth into the salacious material.