The movie is so much more nuanced and bold than the first wave of outrage charged. With Cuties, Doucouré announces herself as a director with a keen visual style who’s unafraid to explore these cultural and social tensions.

The China Hustle is not interested in offering a crumb of hope, thereby enabling the frustration it will inevitably arouse in viewers to dissolve into apathy once the credits roll.

Whatever its shortcomings, “Magician” accomplishes quite a bit as a corrective, and it also gives one an hour and a half in the company of Orson Welles. That in and of itself is worth at least a three-star rating.

Green and McBride are playing with some interesting themes and there’s a female empowerment story of trauma here that’s interesting (but underdeveloped), but do you know the biggest sin of the new “Halloween”? It’s just not scary. And that’s one thing you could never say about the original.

A passionate documentary with a lot of valuable information to impart, and a laudable humanist agenda to push. Unfortunately, it’s also not a particularly good movie. In fact, at certain points it can be an actively annoying one.

Parched is a filmmaker’s attempt to understand how and why these women continue to live.

If you’re hoping to see a production just like the one that would have been done in 1596, this ain’t it. But Mott’s version is a hell of a good time in its own right.

Unfortunately, The Stanford Prison Experiment is a dramatization, and no matter how much it may adhere to the well-documented specifics of Zimbardo’s work, it is a massive failure.

Elegant, cold-to-the-touch blend of drama and gothic horror.

The Armstrong story is fascinating. That someone could get away with such a huge lie in plain sight is terrifying.

In the end, it feels like Morano didn’t trust her actors quite enough to be the conduits of emotion, falling back on too many filmmaking and screenwriting tropes that hamper the realism of their work.

If they gave Oscars for bringing underwritten characters to life, Hathaway and Galitzine would be contenders.

It’s a full cast of rising young stars, like Stranger Things before it, and Fear Street gives that palpable sense of having fun while hanging out with them, but worrying that one of them might abruptly die.

More than just your standard horror/comedy, The Wolf of Snow Hollow is a tonal balancing act, a movie that doesn’t go for laughs or horror as much as weave various tones and styles through its excellent script. I thought Cummings was a talent to watch after “Thunder Road,” and now I’m sure of it.

However chronologically jumbled, Victim/Suspect prevails with its many episodes of de Leon’s incisive reporting and dedication, and the insight we get from legal and policing experts about how this cycle continues.

Despite an overall unsatisfying resolution to these inquiries, the ideas that the film prompts, coupled with Foster’s nuanced performance, make for a compelling enough character study.

The reason I’m rating this movie higher than I would otherwise, is Christopher Walken. His commitment to making Caleb as thoroughly unlikable as humanly possible yields a character who’s kind of terrifyingly off-putting even when his words and actions are ineffectual. A piece of acting alchemy of which only few are capable. I can’t imagine how powerful it might have been in a better movie.

While Gladiator and Kingdom of Heaven throbbed with purposeful vitality, pictures such as Robin Hood and 1492: Conquest of Paradise seemed to lack much of a reason for being. Scott’s The Last Duel may not be perfect but it never exhibits such inertia.

Wholly engaging from its first frame to its last, Rosenwald stands as an exemplary testament to the change that can occur when wealth, power and influence are utilized for the good of humanity.

Invention is a unique collaboration between director Stephens and actress Hernandez that melds fact, fiction, and commentary all in one tribute to an estranged family member. As the movie progresses, there are moments where reality and fiction blur together.

Slash/Back gains its greater power with its entertaining narrative of these Inuit heroes warding off invaders, trying to save their home while earning a deeper pride in that very place and its people. It’s sincerely sweet and entertaining, and its impact is felt even more as the black alien blood starts to fly.

Were it not for Byrne’s endearingly optimistic performance, most of the charm of Juliet, Naked would be swept away.

For a story of a guy who’s willing to get messy for the first time in years, it’s an overly clean piece of screenwriting, one that too often lets its A-list star play ideas instead of a character. But there’s enough to like here to forgive a film whose ambition exceeds its reach, both in some of those ideas and a flawless supporting cast, especially another fantastic turn from Adam Sandler.

Psycho Goreman isn’t clever or lively enough to be more than fitfully fun, especially given how much time is spent mocking generic, but painstakingly recreated plot contrivances.

The movie is pedantic, humorless, dry — all of the things that, as it happens, “The Searchers” is not.

Byun ultimately pulls too many punches, but Kill Boksoon remains impressive, if only for its unexpected sensitivity and considerable emotional range.

Writer/directors Hannah Marks and Joey Power have made an intimate little drama that feels fresh because the diagnosis turns the usual love story upside down.

Allow the tongue-in-cheek “Fresh” to satisfy your appetite for a generous helping of heartening sisterhood and eradicate your cravings for a juicy burger, possibly forever.