Ip Man 4: The Finale is apparently going to be the last time Yen dons the familiar black cassock to play Ip Man, and Yip orchestrates a fittingly spectacular finish to the saga.

Murphy refuses to look back in anger. The man remains optimistic, even when discussing death. With Murphy’s 2019 return to “SNL” serving as the joyous finale, “Being Eddie” presents an Eddie Murphy who seeks to entertain (on his own terms, of course) as long as he’s still got air in his lungs.

An enjoyable cast, including movie-stealing work from Jodie Comer, holds it all together, but one can still see just enough glitches in this matrix to wish it was better.

The film's best asset, and the thing that elevates it above the 1986 version, is how well it is cast.

An arty tribute to violent, sensuous, over-the-top Euro-trash pulp fiction.

It’s an undeniably haunting piece of work, a story that’s out of place and time in a world that’s like our own but not quite. Rod Serling would have dug it.

Jenny Slate and Charlie Day deserve better than “I Want You Back,” a leaden rom-com that gives them a shot at being funny, charming, and sweet, only to squander it scene by scene.

Sly is a frustratingly unrealized work, always hovering on the edge of real insight but rarely jumping into it.

Great actors Ben Mendelsohn and Rooney Mara do their best to elevate the frustrating Una, but their director doesn’t seem to understand what he has in these two performers, constantly pulling back from their raw emotion and complex characters.

The movie is not interested in wrapping things up via a “smash the mirror” epiphany. It’s to Oliver’s credit that he’s taken a more tough-minded than easily cathartic approach. And Ansel Elgort’s wonderful performance does appropriate honor to the ambiguity the movie is trucking in.

The superhero power of this movie comes from its endearingly offbeat characters, goofy humor, and gentle insights about finding optimism even when things go wrong.

Match has enough meaty and engaging character material to effectively sidestep the very theatrical contrivance of its plot premise, which does have a great deal of potential for reversal and counter reversal and indeed takes full advantage of that potential.

Plane rushes through its emotional and explosive beats so that it can get to the next crisis without having to fill out the previous one, and it wildly skims on the good stuff in the process.

The way Philippe organizes the hundreds of clips provides more startling and exhilarating moments per minute than most movies about movies can muster, although I can’t say that aficionados of ostensibly realistic cinema aren't going to be too thrilled. Which is too bad, because among the many things this picture captures is how the fanciful worlds of “Oz” and Lynch illuminate the pain and splendor of the world we have to inhabit once we leave the magic realm of cinema.

The Sounding impresses more with its majestic and ageless feel than its vague ideas around the human mind.

The strength of the film is its heart, and Summer’s relationships are used not only narratively, but structurally. With frequent narration from Summer’s daughters, and a heavy focus on their childhoods with a loving but distant mother, their desire to understand her beyond her parenthood and into her personhood is the the movie’s foundation.

There’s a compelling cinematic story here, perhaps, but Ricciarelli’s movie is too diffused and scattered and, especially in its first hour, too reliant on commonplaces.

A crashing disappointment, even if you haven't seen director Masaaki Yuasa's relatively inspired and completely unpredictable 2004 anti-coming-of-age fantasy "Mind Game."

Its abundance of plot contrivances in the final act and overly scripted dialogue hold it back from greatness, but two excellent performers overcome all of this familiarity. I can't want to see them again.

A truly effective genre flick. It’s not perfect, but it’s damn closer than anyone would have predicted.

Black Box is a little wobbly in balancing its science-fiction logic and some wholesale horror thrills, but to the credit of debut director Osei-Kuffour Jr., both genre elements have their place.

Hall's dialogue compels you to listen, to lean in, but Johnson and Penn draw us into their separate worlds and histories, each face telling a million stories.

It's also genuinely warm and involving because of the participation of everyone from Carmen Vega, Giger's widow, to Sandra Berretta, Giger's former assistant and self-described "life partner." The film is, in that sense, an effective memorial, one filmed after Giger himself admitted that he had said all he wanted to say in his art.

Coogan and Rudd's generally charming performances both give weight to their otherwise wisp-thin characters, but their swishy mannerisms also speak to the superficial nature of Fleming's presentation of Erasmus and Paul.

It's all so rich—and so richly executed by Ellis, a total filmmaker—that one wishes it added up to more than a series of smart variations on a certain type of film.

For better and for worse, Joshy believably creates the sensation of a low-key weekend hang with a bunch of bros. You probably wouldn’t want to spend that much time with these people yourself, but at least they’re never boring.

While the documentary has the feel of a scrappy passion project, the message itself remains powerful. Given the chaotic times, There’s Something in the Water also serves as a stark reminder that not all governments have their citizens’ best interests at heart.

Ramen Shop believes that the healing power of food can satisfy our hunger for comfort in difficult times, and that should be filling enough for now.