Despite the occasional moment where the depiction of newsroom procedures doesn’t quite ring true, or a supporting character delivers a line that’s a little too perfect and succinct for the moment, most of what transpires feels grimly authentic and true to the real-life characters and events.

While the performances are solid and we do get a few touching moments, the film sinks under the weight of too many intersecting storylines and too many loud and fiery and surprisingly mediocre action sequences.

A strong and steady drama from writer-director-actor Joel Edgerton, featuring yet another effective and authentic performance by Lucas Hedges as a teenager in crisis.

The only redeeming value of Bohemian Rhapsody is it’s so bad, there’s plenty of room left for a much better biopic about the one and only Freddie Mercury.

Despite some interesting performances and impressive art direction, director Luca Guadagnino’s take on the 1977, cult-favorite, supernatural horror film by Dario Argento is an arduous, overstuffed, convoluted and trashy piece — bloated and graphically blood-soaked, guaranteed to make you cringe at times, but not the least bit chilling or haunting.

Carey Mulligan is terrific, even when the script calls for Jeanette to make a quick, not entirely plausible transition from a repressed housewife from the Eisenhower era into a diva from an overwrought B-movie. It’s a great performance in an almost-good movie.

From start to finish, Hunter Killer is all wet.

The original Studio 54 lasted for only 33 months. In 98 minutes, Studio 54 captures the club on its best nights and on its worst mornings.

There’s something quite beautiful and quite melancholy and sometimes achingly relatable about the tone of writer-director Elizabeth Chomko’s lovely and memorable What They Had, which is based in part on the Chicago-born Chomko’s own family history.

For most of the ride, Mid90s feels like an accurate time capsule — and a relatable journey even if you’ve never been on a skateboard in your life.

This movie had me smiling from start to finish. Murray can be a mercurial and elusive figure, but we come away from this doc convinced there is nothing cynical or self-serving or ego-driven about his interactions with “regular” folks.

At times Can You Ever Forgive Me? is actually quite funny and of course McCarthy is great in those scenes — but she’s equally effective in the darkest, most dramatic moments. It’s one of the finest performances of the year.

I found it to be the equivalent of a free-swinging slugger who is willing to strike out once, twice, even three times — but then hits one clear out of the park. It’s worth the risk-reward ratio.

Chalamet is asked to hit some big notes in this performance, but we never see him acting. That’s true greatness in the making.

Director Green isn’t trying to reinvent the squeal. Halloween, the 2018 version, is the B-movie sequel “Halloween,” the 1978 version, has always deserved.

The Hate U Give is indeed a message movie, and yes, there are a few times when certain characters come close to becoming caricatures. But those are minor drawbacks to a story filled with immediacy and urgency but also so much heart and soul.

Sometimes it’s a creepy thriller. Sometimes it’s a gripping and heartbreaking story of a man losing his memory. Sometimes it’s drive-in movie about a charismatic and thoroughly reprehensible cult leader. And then, from time to time, it’s for all intents and purposes a musical.

Mary Elizabeth Winstead, who has consistently delivered good work in countless genres on TV and in the movies, delivers one of her most memorable performances as the title character, who is smart and cool and infuriating and sympathetic and odious and entertaining and so much more.

What makes the movie so memorable, so good, so strong, is the unvarnished, warts-and-all perspective.

Tom Hardy is one of the best actors in the world, but as he flounders his way through Venom, we’re reminded even the finest talents can sink under the weight of a terrible movie.

It’s a carefully crafted, almost reverential character study of man and music Hawke clearly and greatly admires.

Forrest Tucker’s swan song moments in The Old Man & the Gun are well tailored for Robert Redford’s swan song as an actor. It’s a damn good performance that also serves as a fitting curtain call.

One of the many wonderful surprises in A Star is Born is how director/co-writer/leading man Cooper strikes the perfect balance between a showbiz fable with emotional histrionics and performance numbers and a finely honed, intimate story with universal truths and experiences hardly unique to the entertainment world.

It’s not often an animated children’s movie features lessons about critical thinking, especially when the movie on the whole is a zippy, silly, zany, cheery little tale with the obligatory upbeat musical numbers, wonderfully entertaining voice work from the eclectic cast, and a gentle, PG tone with nary a sequence that will have the little ones scurrying for cover under your wing.

D’Apolito does a beautiful job of honoring Radner, but I found myself wishing Love, Gilda was a two-part, four-hour documentary, a la Judd Apatow’s “The Zen Diaries of Garry Shandling.” There’s just too much Gilda greatness — on and off camera — to be contained in an 86-minute box.

This is an extra-cheesy and terrible film.

In the case of the awkwardly titled, swing-and-a-big-miss workplace comedy A Happening of Monumental Proportions, there are numerous scenes so tone-deaf, so off-putting and fundamentally unsound in structure and dialogue, the execution of those sequences is doomed from the get-go.

Life Itself begins with a cinematic shell game, with Fogelman pulling a short con on the viewer for no discernible reason.