The star's Capone Voice is really something else, though — right up there with Hardy's Bane in "The Dark Knight Rises" and the title character of "Bronson" and the murderous trapper in "The Revenant" in goofy daring, as well as raw material for celebrity impressions that one might attempt while buzzed at a party. No matter how many times you hear it, it never seems to issue organically from the man on the screen.

Porno belongs in the “hot and murderous butt nekkid lady” sub-genre of horror alongside “Species,” “Lifeforce,” and the film it shares its villain with, “Def by Temptation.” Like that 1990 Troma movie, this horror-comedy details the exploits of a succubus, a female demon who tempts men to their own destruction via the deadly sin known as lust.

Typically reliable actors like David Strathairn and Jeffrey Dean Morgan can only do so much when they’re given so little to work with on the page.

I cannot lie, though. As cranky as much of the movie made me, Pastoll, Blaney, and especially Bolger all contrive to deliver as satisfying a climax and dénouement to this saga as one could hope for. So there is that.

The film offers some simple-minded insights into the myth of the happily-ever-after, and a dash of nonchalant French charisma. But the whole thing is only as original as a dull midlife crisis, retrofitted into a whimsical screwball mold that feels miscalculated.

Apart from its numerous profound achievements, Neulinger’s picture is an extraordinary work of film analysis, inviting the viewer to study certain encounters frame-by-frame as a way of revealing their unspoken subtext.

At its best is more a mood piece than a narrative, an exploration of the shifting power in relationships with striking images and overtones of duality. But at its weakest, it is more of a workshop than a story — the ultimate resolution, like the story Lana tells that gives the film its name, is less meaningful than it aspires to be.

There is more in How to Build a Girl that works than doesn’t. It’s charming and sweet, and even in its more serious moments, the movie never loses its sense of humor.

As cinema, it's not trying to reinvent any wheels. But it's an impressive example of basic storytelling techniques refined for maximum impact, each element reinforcing and feeding off every other element, as in the enclosed ecosystem that it depicts.

This is a movie that’s impressively, if not stubbornly understated, where life stories come from select bits of precise dialogue, with lovingly rendered characters put into a collection of scenes that simply allow us to live with them.

It’s one of those films that may be overly reliant on jump scares when you tally them all up, but I’d by lying if I didn’t admit that a few of them legitimately made me jump.

This an impressive debut movie, revolving around the sorts of lower middle-class people rarely seen in American cinema anymore, told in a style that's just as much of a throwback. It gives veteran character actors a chance to shine, not just in lead roles but supporting parts and one-scene cameos written so thoughtfully that you can picture the character starring in a movie of their own.

That kind of gallow’s humor defines the surface tone of Arkansas, which often feels like a riff on “Breaking Bad,” only now it’s more about how sad it is to be poor white trash.

There are times when the familiarity of the urban melodrama hurts Blue Story, particularly in the lack of depth to his characters. (Odubola is a find, but the rest of the cast has some actors who feel a bit amateur.)

Headey starred in "Game of Thrones," but also works with the International Rescue Committee as a human rights activist. She executive produced The Flood, and it is clearly an issue important to her. Her performance is quiet and controlled.

In some ways, The Infiltrators is reminiscent of 2018’s under-seen gem “American Animals” in how it blurs the line between narrative and documentary while incorporating genre tropes into the nonfiction medium.

Deerskin isn’t weird enough to be great, mostly because Dupieux (“Rubber, “Reality”) is a little too precious when it comes to pacing, characterizations, humor, etc.

Unlike “Stranger Things,” The Wretched is a little too cute about teen angst, and not light enough on its feet to make you want to root for its ostensibly typical adolescent.

The pieces may seem familiar in The Half of It, but the way Alice Wu assembles them results in a fresh and inspired whole.

The characters don't or don't want to say much about what they are thinking or show much about what they are feeling. They lie a lot. But the patient, observant camera captures the sensitive performances by Havard and Morgan, and they are never less than eloquent and honest.

There is not a single original idea in All Day and A Night. Not one solitary surprise is to be had here.

Daniel H. Birman’s Murder to Mercy: The Cyntoia Brown Story is what happens when a crime documentary loses sight of its focus.

It might be kind of tedious, kind of sloppy, and mostly silly, but you could never accuse Dangerous Lies of false advertising. The new Netflix thriller, directed by Michael M. Scott, is practically designed for rainy day viewers who initially laugh at the title, and that’s not a bad thing.

There is no crying in baseball, but you might just be reduced to a puddle of tears while watching Bolan’s film, which finally brings the duo’s love out of the shadows and gives it a long-overdue chance to shine.

I found myself admiring Barnaby’s editing and production skills—“Blood Quantum” looks great—but he’s not quite yet there in directing performances or writing dialogue. Everything here feels a bit too first draft or first take when the characters aren’t fighting off growling zombies.

Adapted by screenwriter Shaun Grant from the novel by Peter Carey, and directed by Justin Kurzel, "True History" is a dream, or nightmare, about Ned, his family, Australia, manhood, womanhood, and how hard it is for poor people to escape the class they were born into.

Robert the Bruce is gorgeously filmed by cinematographer John Garrett, making the most of every exquisitely lit crag of the Scottish countryside.

Everything in 1BR is over-exposed, often literally thanks to the movie’s basic camera set-ups and general emphasis on naturally and/or harshly front-lit close-ups, or medium shots of brown stucco walls.