A valuable and unique rewind glimpse of what it was like to be a teenage celebrity in the pre-Instagram era.

Such a brilliant, spine-tingling buildup — and such a thudding disappointment of an ending. Watching the creatively creepy and starkly haunting Come True is like going to see a great new band in concert and seeing them kill it for the first 90 minutes, only to end the night dressed in wacky costumes and playing bagpipes.

A nice little gem of escapist entertainment that keeps us guessing until the very end, which is corny as all get-out and maybe I even got something in my eye.

This is one of the most painfully realistic depictions of dementia in recent film history, and yes, that means The Father can be a tough viewing experience at times — but how can one be anything but grateful for the chance to see one of the world’s greatest actors doing such enormously moving work past his 80th birthday?

In the borderline trifling but consistently amusing and wry period piece My Salinger Year, Qualley has the opportunity to carry the story, and she delivers an effortlessly endearing performance in a literary adventure that plays like The Devil Wears Prada meets Can You Ever Forgive Me, only at lower stakes.

Alas, the basketball scenes and the basketball talk in this basketball movie continually bounce the wrong way, and there’s no overcoming that.

After all these years, the land of Zamunda is still the world capital of comedy.

This is Grillo’s film to carry, and he pulls it off with a combination of brute force and light charm.

This adaptation of the young adult science fiction novel “The Knife of Never Letting Go” (the first in a trilogy) is sunk by the nearly unwatchable and unlistenable execution of the main premise.

A visually arresting, consistently entertaining story featuring a host of endearing and memorable characters. Everyone in the ensemble is excellent, but the standout is Awkwafina, who does some of the best animated voice work I’ve ever heard.

This is a film that pulls off the difficult balancing act of carrying an important and uplifting message while delivering consistent laughs and introducing us to some wonderfully badass teens.

A clumsy, off-putting, uninvolving hybrid of domestic tragedy and sci-fi drama with zero payoffs and one of the most infuriating codas of any movie this century.

It’s an ambitious reach, and the talented cast of mostly familiar names is game for the challenge, but Crisis goes over the top with too many key plot developments. The end result is a serious case of Messaging Exhaustion.

Andra Day looks and sounds like every inch the movie star in the performance numbers and when Billie enjoys rare moments of peace and happiness offstage — and she is equally, heartbreakingly believable as Billie’s appearance deteriorates and her soul is crushed by years of drug abuse, and a lifetime of being physically and emotionally battered by a series of men who looked at this amazing, glorious, singular star and saw little more than a cash register.

Writer-director Kerem Sanga has a knack for delivering arresting, noir-like visuals, especially from medium- and long-shot distance, and the talented cast gamely tries to sell the material, but The Violent Heart is so muddled there are times we have to remind ourselves of the connection between certain characters, and the histrionics so over the top we’re hoping everyone will just take a deep breath and CALM THE HECK DOWN.

Even though Eilish has been a ubiquitous presence on the pop culture landscape for the last few years, this movie serves as an intimate and revealing filmed document.

Harsh times and heartbreak abound in the Russo brothers’ gritty addiction epic Cherry, but there’s poetry in the language of the script and in certain moments of wonder and hope, of dark comedy, of love and redemption.

A relatively breezy and slick slice of entertainment, with a fast-pace style befitting the material and expertly calibrated performances from the ensemble cast.

Writer-director John Swab is clearly influenced by films such as the The Big Short and his grasp sometimes exceeds his reach as he indulges in a few too many stylized touches and meandering subplots, but Body Brokers keeps us in its grips throughout.

A vicious and cheerfully twisted psychological thriller dripping in deception and dread, bathed in pop-art colors and infused with a wickedly dark sense of humor.

Writer-director Chung and the production team have delivered a sepia-toned memory piece that never sugarcoats the culture clashes in and out of the Yi household and yet remains hopeful in tone throughout, reminding us of the power of family and of the Great American Dream.

With Romania standing in for 1850s New York State, The World to Come feels true to its time and place, and all four main players do a spectacularly good job of sounding and acting true to the time.

A somewhat convoluted and occasionally formulaic but disturbingly effective legal political procedural.

Although sometimes convoluted and occasionally implausible, this is a well-filmed and ambitiously creative first effort from writer-producer-director Ravin Gandhi.

If you miss this film, you are robbing yourself of one of the great movie-watching experiences of your life.

Despite that not-intriguing title and some late developments that come precariously close to piling on the sentimentality, this is ultimately a breathtakingly beautiful, stark and deeply human story about love and loss, and the extreme measures some will take to numb their pain.

Life in a Day 2020 is an affirmation of life, of the simple joys experienced by citizens of the planet over the course of a single day. We’d never have met any of them without this film, and we’re grateful for the opportunity to get to know them a little bit.

This is an old-fashioned and borderline corny biopic that looks like it could have been made 40 years ago — but it’s also a true-life story about a man who denounced his racist lineage and dedicated himself to the cause, a man who is still with us today, and it’s a story well worth telling.