Something of an intriguing curio (the first feature film about a subject treated in song, poem, television and theatre), Lizzie has some memorable pluses and significant minuses.

It’s hard to describe exactly how fun it is to watch the performances and archival footage generously offered in Bad Reputation. Suffice to say rock fans with a bellyful of beer will have a ball.

Colette is ultimately a feminist tale, but never one that wallows in self-pity or seriousness. It is also carried along lightly by a script with a streak of wit.

Considering the (pardon the expression) glacial pace of much of the lead-up, Hold the Dark’s eruption into massacre-level violence is jarring. Once it takes hold, it is relentless and grueling.

It’s hard to imagine anyone who enjoyed Radner’s performances in their lifetime not finding much to love about Love, Gilda… even as our hearts break a little at what might have been had she lived longer.

Assassination Nation may be empty calories as social satire, but it’s a dark, wry, of-the-moment story of run-amok panic that will entertain horror fans.

Roth, in restricting himself to the polite requirements of a kid-friendly movie, keeps his darker instincts in check, making this more a movie about set design than emotions.

For the old fans, there are a few splashes of Moore’s caustic levity.

Feig has done a superb job of building a compelling story from angular bits that shouldn’t fit together but do while making pointed commentary on everything from gender roles to social media.

Here’s the thing: it’s hard to care about anyone presented on screen. Sorry but… they’re just not very nice. Nor are they fascinating criminal masterminds pulling off complex, game-changing capers.

Credit the towering talents of Emma Thompson and Stanley Tucci with redeeming The Children Act, a film oddly thin on story despite coming from the marvelous Ian McEwan, who adapted his own novel for the screen but somehow failed to capture the surge of the source material.

Director/co-writer Shane Black, indulging his tendency towards glibness, brings an outright comic touch that turns the latest interaction between humans and these dreads-wearing extraterrestrial big-game hunters, into something of a bloody romp – as inappropriate as that sounds (and often is).

I will give The Nun this, it has an utterly outrageous ending that pretty much brought the house down at the advance screening I attended.

The Last Suit has its narrative flaws and leaps of faith. But the sheer force of its central character’s untethered voyage of discovery – and the acting behind it - overcomes all.

The nut of the movie, the thing I return to again and again when thinking about it, is the issue of how much the odds were stacked against Kusama. Kusama-Infinity is a perfect movie for the #metoo era: A glimpse into the life of a woman with a vision who had the misfortune of being born at a time when even what was arguably the most progressive culture felt that it was just fine to ignore a woman’s voice.

Yes, it’s a formula and we’ve been here before. But the characters are engaging, the performances elevate the material, and the various dilemmas of each gives this more layers than you might expect.

A kind of gothic, ghostly mash-up of Downton Abbey and Grey Gardens, The Little Stranger is as mannered, tattered and morose as that marriage of premises suggests.

It’s awful by any metric you apply.

One of the pleasures of Support the Girls is that it explores the constant fender-benders of sex, race, class, and age without ever coming off as preachy or lecturing.

Even as a reboot, it remains both scenically beautiful and an ordeal at the same time.

As fresh as the female perspective is, as Skate Kitchen circles and swoops through the Manhattan twilight toward its conclusion, there is a sense of missed potential, that the film could have been much richer than it is.

Alpha aims to be not just a story but a transporting visual experience, which is one area where it over-reaches.

Nicchiarelli’s film makes a case that Nico’s instability and bleakness was no pose.

There’s enough promise in The Happytime Murders for it to possibly work as a short-lived, gimmicky Comedy Network series. But the effort that’s put into stretching this gag over the length of a feature film is more painful than funny.

The most compelling performance here belongs to the Indonesian actor and martial artist Iko Uwais, who became famous in The Raid movies. Here, he plays the “asset” who must be taken out of the country. Uwais’ hand-and-foot battles are genuinely explosive and when he’s not fighting, he doesn’t say much, which is a welcome relief from all the rest of the babble.

The characters of Rachel and Nick are charming but their relationship feels backgrounded by numbing amounts of money porn, stilted melodrama, and often-strained comedy.

City-dwellers may go their entire lives without realizing that the greatest movie screen of all is above their heads, telling billions of stories.

Dog Days moves along, mostly pleasantly and at its worst is a somewhat-forced good time.