Finding Steve McQueen is a combo platter of crazy-but-true history mixed with creative fiction. The result is an entertaining if sometimes overly self-conscious 1970s period piece, bursting with pop culture references.

A well-made, rough-edged and solid frontier fable with a distinctive look and fine performances all around.

This is a quiet film, moving at its own pace, reflecting life with such realism it’s as if we’re invisible guests in Gloria Bell’s life. And yet there’s something thrilling about watching such a great actress hitting all the right notes every step of the way.

What a magnificent presence is J.K. Simmons. What an authentic, weathered, world-weary face he has. What a tremendous gift he has for conveying so much with such little dialogue in the stark and unsettling I’m Not Here.

Alas, with the notable exception of the empathetic Boutella, the cast of “Climax” consists primarily of dancers who are not actors. And as actors, they’re really good dancers.

First-time director D’Onofrio has as an admirable visual style, whether we get medium-long-shot takes or intimate close-ups. This is a good-looking period piece film, percolating with top-tier performances.

From the direction to the script to the production elements to the performances, Triple Frontier is a first-class ride.

This isn’t the greatest Marvel movie ever made, but it’s definitely one of the funniest — and one of the sweetest.

Despite the first-rate production values and the game performances from the cast, “Greta” can’t escape from the formulaic screenplay that dogs it at every turn. It’s almost as if it’s being stalked by mediocrity itself.

Directed by Alex Lehmann with a deft and indie-casual touch from a script by Lehmann and Mark Duplass, Paddleton is a low-key, sweet and heart-tugging buddy movie.

Fighting With My Family works as a cheeky but never condescending story of one of those “chin-up” working-class British families so often featured in the movies, and of course primarily as the story of an undersized, overmatched outcast who is determined to succeed against all odds.

Directed and co-written by Shawn Snyder, To Dust is a dark but not bleak comedy, an oddly effective love story and also a classic buddy movie, albeit presented within a framework I don’t we’ve ever seen before in the genre. It’s also lovely and offbeat and kind of wonderful.

All the cutting-edge pyrotechnics in the universe can’t overcome the uneven (and ultimately unsatisfying) screenplay.

A cheerfully twisted horror/comedy/sci-fi mash-up with a surprisingly sweet heart lurking beneath all the bloody-rinse-and-repeat hijinks, which aren’t all that bloody anyway.

With a combination of bone-dry wit and blood-drenched horror, writer-director Dan Gilroy’s Velvet Buzzsaw skewers some of the most pretentious denizens of the art world you’d ever want NOT to meet — and does so with precision and flair and pitch-black humor.

Gina Rodriguez: You deserve much better than this.

There’s much truth and food for thought contained within even the most over-the-top moments.

The LEGO Movie 2: The Second Part doesn’t quite match the original’s spark and creativity, but it’s a worthy chapter in the ever-expanding Lego movie universe.

Cold Pursuit moves forward with the assured and deliberate force of Nels’ massive snowplow. And with Neeson/Nels at the wheel, Cold Pursuit is one fantastically hot mess of a movie.

An Acceptable Loss is a B-movie with some A-level acting, particularly by Tika Sumpter.

The spiritual angle in Serenity is just one of the many elements making this one of the most ambitious, one of the most challenging — and one of the most entertaining thrillers in recent years.

From its opening moments through its pitch-perfect closing notes, Don’t Come Back from the Moon is a stunning and stark and beautiful thing to behold.

Director and co-writer Rhyan LaMarr’s made-in-Chicago indie film Canal Street is a work of fiction, but it contains so many essential truths, so many recognizable situations and characters, so many (sadly) familiar moments of heartache, it rings as true as a documentary.

As Fyre makes painfully clear, just about everyone involved with the project — including the co-founders — had to have known they were tumbling down a mountain at rapid speed and headed for almost guaranteed scandal and disaster, yet everyone kept on working, as if the denial would somehow soften the blow.

Shyamalan being Shyamalan, Glass does have a distinctive look and some pretty cool moments, and a half-decent twist or two. Mostly, though, it’s an underwhelming, half-baked, slightly sour and even off-putting finale.

Hart delivers a sincere and relatively low-key performance as Dell, but he’s playing an all-too-familiar movie stereotype.

Thanks to the subtle brilliance of Reilly and Coogan, even someone who’s never heard of Laurel and Hardy would likely see how magical these two were together.

Gaffigan’s a regular guy holding up a mirror to our everyday world, and turning those reflections into laughs and bigger laughs — and sometimes best of all, smiles of recognition.