Casal and Diggs have both lived these roles for years, so it’s not surprising that they never deliver a false moment.

Technically splendid but emotionally distant, The Third Murder will seem more like a detour than a destination for his fans.

Mamma Mia! Here We Go Again is a minor miracle of a musical, something you never thought you would ever see.

Fallout is the boldest of a series that has set a very high (sometimes literally so) standard for breathtaking set-pieces. By my count, the new film has at least seven of them—a generous gift to summer audiences from daredevil star Cruise, writer-director Christopher McQuarrie and stunt coordinator Wade Eastwood.

It’s strange that The Equalizer 2 is such a sluggish ride. Fuqua and Washington have developed a body of work over the years that is, if nothing else, reliably kinetic. But with Wenk’s pedestrian writing, there just isn’t much for Washington to work with here.

The story of the 2010 Citizens United Supreme Court decision, which opened the spigots of campaign cash, has been told before. But Reed weaves it into a larger narrative in which it is simply one of the steps in the unraveling of modern campaign-finance laws.

Cassel, one of France's singular talents, delivers an absorbing performance, committing to his role on both mental and physical levels.

This is an astonishing filmmaking debut from Burnham, a renowned comedian as well as a musician—you might secretly wonder how a young male not only captured the point of view of an eighth-grade girl so exactly, but also expressed it with such emotional precision. Whatever the secret formula to his experiential accuracy and unexpectedly inventive directorial eye is, the outcome is a deeply serious coming-of-age film that is only light and charming on the surface.

Path of Blood is more an immediate experience, and as such succeeds in unexpected ways. The human normality of what it shows is nearly more sickening than the carnage itself.

Ostensibly a drama filmed with European realism, What Will People Say has the air and the unsettling effect of a horror film.

The fun of Uncle Drew is to be had in the energy of its athletic cast, all of whom appear to be having a grand old time playing around.

Unfriended: Dark Web doesn’t deserve your faves or your retweets. Instead, it’s a regrettably stupid horror sequel that was better left in the drafts folder.

Aside from a witty montage near the start of the movie and sparks of his cheeky, goodhearted subversiveness later on, most of Hotel Transylvania 3: Summer Vacation is bludgeoningly broad and obvious.

Milford Graves: Full Mantis is a wide-ranging look at an intriguing artist, a documentary brimming over with his thoughts about culture as well as his music.

Director Matthew Ross does the near-impossible in Siberia: He turns a Keanu Reeves vehicle about sex, diamonds and the Russian mob into a dreary, endless slog.

a plodding film with ill-placed, klutzy exposition and credibility-defying and/or colorless characters that are spokespersons for various predictable viewpoints.

Despite committed performances across the board, I left the film craving a deeper, more conventionally attentive character study.

The Rock retains his uncanny ability to elevate his material. Through sheer will he makes it seem possible that he could shimmy up a fraying rope outside a burning building's glass wall while carrying his own leg.

A film of mounting artistic imagination, Sorry to Bother You spirals into a type of mind-bending madness that is both persistently fun and one-of-a-kind.

While this culinary-themed doc offers a little kitchen sizzle and artistically plated tastings (a delicious shrimp dish sautéed, a daring soy sorbet, etc.), the film has more of a scattershot, look-at-me Facebook feel.

Deliberately paced but shot with a quiet magnetism and close-in immediacy,The Citizen benefits in comparison to other immigrant dramas because even though this is a story suffused with empathy, it doesn’t center on either a good deed being done by a white Westerner for a helpless dark-skinned foreigner or that foreigner’s two-dimensional pluck.

Despite its novel plot, and some lovely music and incidental artwork—the title fireworks, the rugged seaside and that glittery magic ball are all beautifully rendered—the film quickly drags.

The film does mix up the formula in some ways. Unfortunately, these changes are by and large for the worse. It edges away from horror and more towards action, favoring shootouts to scares. The latter are in short supply.

You come away from the film feeling that Cecil Beaton represented the very essence of the fashion business, which continues to celebrate, be inspired by and imitate his huge legacy: absolutely exquisite and impeccable on the surface, often hiding a much darker and uglier reality.

Custody embodies Legrand’s attention to detail, reverence for gripping storytelling, command of tension and, above all, direction of finely etched performances for characters major and minor. It is simmering entertainment that amounts to required viewing.

McCabe stands apart not just for the impressive technical virtuosity of his filmmaking or his unblinking focus on the tragedy of the Congo, but for his refusal to chalk it up to generalized Third World chaos. Things happen for a reason, this devoutly humane but studious documentary argues, and until those reasons are dealt with, they will continue.

In their trailer, the gift of the religious do-gooder who owns the farm, the exigencies of survival subside, and the quiet brilliance of Foster and McKenzie’s performances surface.

Rather than working so hard to steer viewers’ emotional reactions, Wardle could have trusted in the provocativeness of his material and endeavored to provide broader context for this entrancing tale.