The third act is crammed with twists and revelations that ultimately seem forced, and can only offer truncated reconciliations. And yet there’s something to be said for the pleasure of watching Sasha, still a bit silly and definitely in need of more life experience, succeed on her own terms and in her very own movie.

Shana Feste’s initially grounded “Run Sweetheart Run” takes the concept of a “bad date” and runs with it to wild extremes, unfurling a white-hot, blood-soaked yowl of feminine rage in a tidy horror package that can barely contain all its biggest ideas.

Credit to Cooper for delivering his best, most soulful performance while pulling double duty behind the camera, but it’s his co-star whose magnetism most draws you into their world — and keeps you there even when the film hits the occasional wrong note.

Terrifying in the abstract even as it grows increasingly absurd to watch, “Longlegs” slinks its way into that liminal space between childhood nightmares and grown-up practicalities with the same precision that it splits the difference between serial killer procedurals and supernatural psychodramas (let’s say “The Silence of the Lambs” and Kiyoshi Kurosawa’s “Cure”).

The explosions might not be as big on the streaming screen, but they’re as bonkers as ever.

Although Corsage makes a worthy attempt to recast Elisabeth as independent of her constraints, its final note leaves it feeling a little too much like its own sort of requiem.

The Raft, like the people aboard it, floats along the surface of a vast ocean of mystery and memory. The result is a bizarre, captivating, and borderline unbelievable memory play that only supports a hypothesis Genovés wasn’t prepared to consider: We are blind to the world as it is when we only saw the world as we are.

While The Nun has some veritable scares up its sleeve, it’s also proof that sometimes the most terrifying horrors are the ones we don’t understand.

Inspired by a rush of paranoia that Stourton once experienced at a wedding where he felt unwelcome, All My Friends Hate Me effectively splits the difference between Ruben Östlund and Ben Wheatley as it pinballs between squirmy laughs and sly horrors.

If this is what a Hollywood-ized and -sized blockbuster looks like in 2022, bring it on. Bring them all on. They’re worth the fight.

Anyone with a passing knowledge of voting rights won’t find much new information in the film, but it’s a rousing and well crafted piece of educational media that takes aim at what research has found to be its most crucial audience: Young voters.

Power achieves a profoundly unsettling sweep by prioritizing breadth over depth, and Ford’s doc is able to cover a ton of ground as it hopscotches between chapter titles like “PROPERTY” and “STATUS QUO” in order to argue that policing has always served as an instrument to maintain class order.

There’s a lot to enjoy about Companion, from Hancock’s sleek visuals, smooth pacing, and twisty script, to Thatcher’s uncanny performance as an android who borders on humanity without ever crossing the threshold. But while the film offers a snapshot of human-AI relations at an inflection point, it doesn’t fully probe some of the implications of its premise.

By depicting an environment where rape culture has been normalized due to oppressive assumptions related gender and sexuality, director Kunle Afolayan delivers an unflinching wakeup call that extends well beyond Nigeria’s borders.

No amount of ingenious camerawork and breakneck pacing can obscure a simplistic core.

It’s hard to imagine that anyone could make another movie about 19th century Russian composer Pyotr Ilyich Tchaikovsky that’s as febrile and virtuosic as Ken Russell’s “The Music Lovers,” but dissident filmmaker Kirill Serebrennikov ... has risen to the challenge with his usual aplomb, orchestrating a historical melodrama that’s almost as feverish as last year’s “Petrov’s Flu.”

Oscillating between the relentless energy of “John Wick” and the dense plotting of a John Le Carré novel, Atomic Blonde never quite finds a happy medium between the two. But when Theron goes back to kicking ass, nothing else matters.

Assembling the story out of small moments and gripping exchanges, Campillo grounds this earnest drama in a sense of purpose.

Dennis Farina's washed-up hustler in The Last Rites of Joe May is designed in the in the mold of a classic movie star tough guy, but the veteran character actor's performance also serves to disassemble it.

The very last scene makes up for a lot of these misgivings: it’s a beautifully bittersweet last beat for the film’s theme of finding camaraderie in the uncertainty of life. For Campillo, it’s one of his greatest scenes as a director. For Cantent, it’s a fitting final statement.

Hopeful and deeply emotional, McKenzie has crafted a film that feels like a fairytale for these isolating times. It reminds us how much we need each other in order to flourish and fully know ourselves.

For two hours at least, Unicorns will help you escape the gray monotony of life with flair and color.

There’s nothing particularly new or inspired about Zippel’s decision to simply train a camera on Friedkin and let him riff, but the man is such a captivating speaker that it ultimately doesn’t matter much.

The film turned out to be a fascinating microcosm of the continued effects of Hollywood sexism. In Turner’s wit and Adams’ pain, we get a glimpse of the brilliant women who were sidelined in favor of childish men in this one tiny corner of Hollywood. All the pieces are there in “Chasing Chasing Amy,” but it all proved a bit unwieldy for what is essentially a Kevin Smith fan film, albeit a charming one.

It’s both entertaining and smart as hell.

The moments when Moll lets the images reveal as much as the dialogue are the ones that linger.

An intimate psychosocial character study that — true to the film’s title — unfolds at a national scale. This isn’t a story about one affluent woman’s gradual radicalization against authoritarianism, it’s a story about the illusion of not taking sides.

Love & Friendship may not be traditional Austen, but it's pretty stellar Stillman.