It’s a visceral look at the veteran experience and the kinds of loss we can’t easily describe or process, and the isolation that comes with that.

There’s nothing especially revelatory about the scenes where Anette sits in the country home that now feels more like a prison, wondering how her life got to the point . . . But her response to said feminine mystique is demented enough to make this a wild and satisfying ride.

I wish we got to see more of the big show at the end of the movie, but that’s almost beside the point — all that matters is that, somehow, someway, it goes on.

To the extent that the ending works at all, it’s because of Froseth.

Leguizamo may give one of his career-best performances in the feature, but it’s Ferreira’s surprising command onscreen that is the most memorable.

A light but meaty piece of magical-realism that threads the needle between Cronenbergian body horror and Miyazaki-like fantasy to create a modern parable that evokes any number of identifiable emergencies — deforestation, the AIDS epidemic, the global migration crisis and its attendant xenophobia, etc. — in the service of a story that refuses to be reduced into a clear metaphor for any one of them.

We never get the chance to see what inspired Chisholm’s political fire or her personal problems — mostly, that’s left to exposition-heavy dialogue from other characters — and even the machinations and calculations behind her presidential run are left far to the side.

Even if the execution isn’t always where it needs to be, Katz and screenwriter Simon Barrett still deserve their flowers for conceiving such a purely cinematic idea and swinging for it with so much confidence.

The rom-com genre lives and dies on its tropes, because we love them and they’re comforting, but the lack of originality smarts here.

It’s a return to form for its director after the misstep of “Men,” a film that’s grim and harrowing by design. The question is, is the emptiness that sets in once the shock has worn off intentional as well?

While Much Ado About Dying strives to be a tribute to caretakers and Chambers’ dearly departed uncle, its baggy structure, dictated by David’s declining health, renders the film frustratingly inert.

It’s great that “Stormy” might buy its namesake a small measure of the sympathy she deserved from the start, but 110 minutes of your time shouldn’t feel like this steep of a price.

[A] sturdily enjoyable if emotionally uninsightful heart-tugger that aims straight down the middle of the audience for a mildly reassuring experience mostly made with families in mind.

The film accurately reflects the tumult of mothers and daughters and intergenerational culture gaps, which are never nearly manifested or bridge. Reality is messy — anything else is the stuff of dreams.

It is in the third act that Immaculate delivers a gonzo, rock-smashing, fiery, crucifix-stabbing and all-out bloody good time. Unfortunately, by that point, it’s too late to save the soul of this movie, which is condemned not to go to hell, but remain in dull horror movie purgatory.

The film is so self-aware, in fact, that it raises questions about which of its flaws are intentional and which are, well, flaws. The filmmaking here is as polished as one might expect from a Hollywood crowd-pleaser, well lit and only occasionally showy in terms of its camerawork. And the combat and car-crash stunts are great — they better be, given the subject matter.

The cuts are quick and the sound effects are bone-crunching, and were it not for an extended lull in the middle of the movie, it would be an exhilarating ride.

It’s simultaneously candid and also staged in a way that plays with form by straddling realism and fiction. Yet that doesn’t detract from the personal nature of the story Mullinkosson tells, and it doesn’t detract from the film’s political power either.

An elegant little film about the things in life that are worth taking risks for, Arcadian is a reminder of how much Cage has to offer us when he’s not contorting himself into something indescribable.

Combining the youthful raunchiness of “Superbad,” a detailed nostalgia for the era of video stores and AOL Instant Messenger, this playful sci-fi spectacle splits the difference between early “Stranger Things” and “The Terminator,” with immaculate soundtrack vibes courtesy of Fatboy Slim and Chumbawamba.

Glitter & Doom isn’t quite as polished as other jukebox musicals like “Mamma Mia!,” or even “Across the Universe” for that matter, but this scrappy, DIY approach is very much in keeping with the duo who inspired this film in the first place.

While Babes begins its approach to domesticity with the same aversion to responsibility that powered “Broad City,” it ultimately settles on a more mature attitude that illustrates the way many of Glazer’s fans are growing up alongside her.

It’s as if “Cabrini” is trying to separate the Christian ideals of the saint’s teachings from the political realities of putting them into practice; as if it’s trying to flatter the moral principles of its conservative audience without pushing that crowd to embody them. Just scan the QR code in the credits, pay a few movie tickets forward, and let the hard work of solving anti-immigrant discrimination become somebody else’s problem.

All in all, this Road House is a fitting update to its predecessor’s legacy. Not because it’s better, or even because it’s all that similar, but because it moves with the same unselfconscious stupidity that fueled so many of the ’80s blockbusters we remember so fondly.

Even at its most entertaining, “Imaginary” has about as much staying power as the figments of imagination that give it its name. Just like your childhood imaginary friend, you’ll probably forget about it pretty quickly.

What follows is misdirection, flashbacks, visions, and wooden dialogue. At least the action is good, and Brown is game as ever.

The funniest thing about Ricky Stanicky might be how recently its director was holding an Oscar on the stage of the Dolby Theater.

A fun but largely unnecessary fourth outing.