In some ways, it’s the softest and most subtle of her six features. In others, it’s the most violent and stubborn of the lot, stunted in many of the same places where her previous stuff flowed like river water. But if Maya isn’t the best of Mia Hansen-Løve’s films, there’s a wayward urgency to the whole thing that makes it feel like it might have been a necessary one for her to make.

Schloss compellingly combines the rangy wildness of hormonal teenagehood with Sadie’s more terrifying instincts, toeing the line between pissed-off teen and possible psychopath with ease. Her Sadie is both brutally dead-eyed and weirdly charismatic; you simply can’t turn away from her, even when you really, really want to.

If the deliciously grainy archival footage were the only thing That Summer had to offer, it would be enough. But by including Beard and Radziwill’s introspective voiceovers, Swedish director Göran Hugo Olsson (“The Black Power Mixtape”) creates a nostalgic meditation that touches on both cultural and historical memory.

No matter how iffy the story gets, or how clinical Eyre’s direction becomes, Thompson makes it absolutely heartrending to watch Fiona’s veneer crack one line at a time.

Kong: Skull Island may include some clever period details and idiosyncratic asides, but it’s largely a blockbuster B-movie less interested in depth than scale.

Thomas and his co-writer Diane Ruggiero have penned a self-avowed love letter to the fans of the series, but grounded it in a solid thriller with compelling characters and bright comic moments.

With its “Glee”-colored dance numbers and drag-lite drag scenes, Everybody’s Talking About Jamie just isn’t serving.

On some level you can only give a remake so much blame for making the same mistakes as its predecessor, but this one certainly doesn’t get credit for fixing them either.

Terrifier 3 is decking the halls with a triumphant celebration that’s horrifying for all the right reasons and snaps into focus what it is that Leone does singularly well. That may or may not win people over, but it shouldn’t lose any repeat customers.

Dreams of a Life unintentionally amounts to a mean-spirited snooze.

Every original drop of Bleed for This is lost in a sea of cliché and convention, and Younger seems totally incapable of separating the singular verve of his protagonist from the hackneyed arc of his defining ordeal.

As urgent and necessary as their story is, it also feels too familiar on cinematic terms.

Come for the espionage thrills, stay for the wrenching dissection of what it means to really love someone. That’s what really cuts deep.

Wise Guys proves that a tone deaf, dumb-ass comedy with a bunch of nifty split diopter shots is still a tone deaf, dumb-ass comedy, and for all its frenetic energy it can’t muster much enthusiasm in those watching.

If only the story that surrounded it was as strong and well-crafted as the locales and people who populate it, The Photograph would be more than worthy of affection. As it stands, it just never quite develops into anything more.

The greatest value to Emmett Malloy’s broadly unenlightening Biggie: I Got a Story to Tell, a new documentary laced with intimate and never-before-seen camcorder footage shot by Damien “D-Roc” Butler, is how bluntly it reaffirms that Wallace was real, even if he always seemed larger than life.

Funny Boy is a luminous coming-of-age tale seen through the eyes of a relatable yet entirely unique experience.

Even as Ullmann Tøndel’s two-hour movie grows a bit too winding and weird for its short film-scale conceit, Reinsve grounds the film’s more experimental, almost stagelike leanings in a constant state of heightened emotion that will make you love her even more than in “Worst Person” — and, even better, will make you scared of her.

Being perpetually online sucks, but movies about it don’t have to, as Not Okay shows time and again.

Despite routinely overstating the scenario with rampant scenes of tantrums and sobs, the majority of Beautiful Boy is made bearable by its two solid performances.

Swicord, perhaps a touch too reverent of Doctorow’s writing, can’t quite solve the limited emotional range of her protagonist.

The movie casts a wide net, but doesn't explore its themes long enough to make any substantial points. Despite its authentic setting, Ten Thousand Saints never gets around to providing a gratifying story to accompany it.

Landing somewhere between “Love, Simon” and “Superbad,” Alex Strangelove is a strange delight indeed.

Angus Wall’s super watchable Being Eddie is among the more convincing films of its kind, because instead — or by way — of trying to show us who the real Eddie Murphy is, it commits itself to arguing that Murphy has always known.

Free Guy is nothing if not a movie that wins you over in spite of your better judgment and best defenses, but its “be the change you wish to see in the world” energy feels like a micro-transactional smokescreen for a corporate monoculture that only values creativity so far as it can be used to fool us into paying for things we already own.

While The Salt of Tears threatens to devolve into a sympathetic male gaze with each new turn, Garrel actually manages to burrow within those boundaries and deconstruct their flaws from the inside out.

Cuttingly funny at times, The Actor isn’t much interested in answering any of those questions, but this semi-inert death trip of a film teases a certain pull from its cosmic uncertainty.

There’s a deeper, more serious film at the heart of I Want You Back, but a bent toward offering up off-kilter comedic set pieces instead keeps it from hitting any harder truths.