Actor-turned-director Don Cheadle trashes the historic career of Miles Davis in Miles Ahead, named after one of the greatest albums ever made by one of the most influential musicians of all time.

It never scales the cinematic heights or reaches the same groundbreaking level as "Saving Private Ryan," but it’s intensely ferocious and relentlessly rough on the senses. You’ll know you’ve been to war, and not on the Hollywood front.

Special praise goes to Alex Wolff as Jamie and Stefania Owen as his sympathetic, agreeable girlfriend Dee Dee, and veteran actor Chris Cooper makes a complex but astonishingly convincing cameo as the great Jerome David Salinger himself. I went to Coming Through the Rye expecting nothing and left feeling enriched, enlightened and warm all over.

Vulgar, contrived and incomprehensible.

Ant-Man is a brainless bore and a colossal waste of money, time and computer-generated special effects.

To its credit, the latest and seemingly last Guardians installment— which at times can feel like a Spotify playlist in search of a movie— mostly manages to drown out the corporate exhaustion of its parent company with copious and often inspired needle drops, even more hit-or-miss one-liners, and a visual playfulness that recalls actual comic books.

Hey, Boo solves the mystery of Boo, and also, to some degree, the mystery of Harper Lee. It's a fine film, well worth seeing.

Lazy, eccentric, chain-smoking and accident-prone, Mr. Murray gives ’em what they clamor for. His eventual redemption as a saint in disguise is predictable. The direction is negligent and the jokes are mild. It’s an O.K. little picture that doesn’t really go anywhere, but it has a resonance that is easy on the heart.

There is insufficient character development and insight, and the film has no ending, so the viewer just hangs in space, asking a million questions for which there are no answers. Low Tide wafts, and so does audience interest.

It’s equal parts compelling, ridiculous and uproariously pleasurable, often to the point where you can almost hear director Ridley Scott shouting, “Are you not entertained?”

The filmmakers’ attempts to play around with the concept of the unlikely action hero are only moderately successful.

Lanthimos is so sure-handed and masterful in his craftsmanship, his cast so able and willing to crawl into whatever strange corner that he leads them to, that you cannot help but respect the man and his bizarre creation, even while resenting its obtuseness and self-regarding nature.

A fact-based film about the life-altering pain of failure, the thrill of belated success, and the challenges inherent in both, Dreamin’ Wild is a testament to a musical family who epitomize the old saying “No matter how long it takes, if you wait long enough, your dream will come true.”

Despite the lofty and even admirable aspirations of this particular entrant to the ever-growing genre, what it has to offer bears little difference from all the rest: namely, a couple of really bad nights in a very bad house.

Romantic, bittersweet and funny as hell, Café Society turns Hollywood inside out, rooting through the superficial tinsel to find the real tinsel. You go away gobsmacked, beaming and happy to be both.

Although the film centers on Trump, a divisive man and genuine threat to American democracy, Sherman and Abbasi leave space for The Apprentice to embrace larger themes. It’s about the possibility of corruption and how easily money and power can entice us.

The Grey avoids smug clichés, takes you to places you least expect and settles for no comfortable solutions, while it explores the dark shadows of the male psyche and finds more emotional fragility there than you find in the usual phony macho myths from Hollywood.

From its gas-passing piranha (voiced by In the Heights’ Anthony Ramos) to its reliance on phrases like “butt rock” and “grumpy pants” that seem grown in a lab to make the 12-and-under set giggle, the movie plays its target audience like a fiddle.

The story Hood’s film tells is a vital one to revisit, not just because the deceptions it illuminates inform so much of the political and international morass affecting our daily lives, but also shows the power of a single act of moral courage, and it does so while being blisteringly entertaining cinema.

It is not the messiah of genre cinema; it’s a very good, perhaps great, futuristic epic that will leave you with something to talk about afterwards.

I liked the sensory strengths of a movie without anything of beauty to look at, but Don’t Come Back From the Moon eventually fails to involve viewers completely because it’s about the consequences of a wasted life instead of the sorry events that lead up to one. Poignant and close, but no cigar.

Ms. Cardellini plays it like a zombie, and she isn't helped by all the loitering camera angles and repetitive close-ups of her head framed against car windows. It's a worthy subject, ploddingly explored in a film that is too modest for its own good.

The two-handed duet at the center of Love Crime radiates, but the parade of easily parodied men who stomp in and out of their corporate offices just seem like script rejects from "Mad Men."

A far too anemic and restrained take on a story that demands at least some kind of dour sensuousness if not straight-up bodice ripping.

The result of so much consecration and loyalty to the subject matter is a movie of uncommon exhilaration.

Another illuminating performance by Rachel Weisz and a brilliant screenplay by the distinguished British playwright David Hare make Denial one of the most powerful and riveting courtroom dramas ever made.

More bitter, bleak lives of American mill workers without a compass and no place to go if they had one are showcased in the pessimistic drama Out of the Furnace. It’s getting to be a dismal film director’s obsession bordering on cliché.

This is not a movie for everybody, but that assessment is not exactly intended as a thumbs down. Alarming thrills are guaranteed.