Even when there’s a comically large moon that feels ripped from a Méliès movie undercutting whatever emotional drama Ayer wants to pull in the film’s climactic raid on a brothel, it doesn’t matter. Because if “The Meg,” “Wrath of Man” or “The Beekeeper” proved anything, it’s that it doesn’t matter how outlandish or overcooked the movie is. Nothing can slow down Statham.

This is a thoroughly fascinating documentary about a family discovering the depth and complexity of their patriarch while coming to terms with his flaws, as well as the capitalist system of art exhibition and sale that has different tiers and gatekeepers, depending on who you are and your version of life.

The work Watts and Murray do in this sequence is both emotionally raw and acutely thoughtful, rife with specificity. It’s career-high stuff.

Based on a 2016 memoir by Tom Mitchell, “The Penguin Lessons” wants to be a thoughtful light entertainment about ideals and courage, but ends up seeming grotesquely misguided.

Viewers looking for a tidy narrative and gratifying conclusions will come up short with this movie. But if you can roll with atmospherics that are their own reason for being, “Grand Tour” has plenty, and they’re all beautifully realized.

Leonardo van Dijl’’s “Julie Keeps Quiet” is more about what is left unsaid than what’s spoken. Co-written by van Dijl and Ruth Becquart, the film is a quiet drama about keeping secrets buried within and what happens when details finally come to light.

Việt and Nam only initially looks like something that you might expect to find on John Waters’ Best of the Year list. Soon enough the movie becomes a gentle romance about loving the dead.

It’s very clear that Braverman has a lot of respect and reverence for his subject, and it’s worth a watch for those who are curious about this goofy guy who used to slap on a foreign accent and play with bongos & people’s perceptions.

It is the story of Dr. Audrey Evans (Natalie Dormer), whose accomplishments in diagnosis, treatment, and support for young patients and their families could fill at least three movies. “Audrey’s Children” manages to combine all three in a solid, often engaging and inspiring drama, anchored by Dormer’s committed performance.

While the film does subvert basic audience expectations, it doesn’t really do anything beyond that as it stumbles through a choppy and meandering narrative that not even an admittedly committed lead performance by Danielle Deadwyler can help save.

The film’s quiet approach doesn’t rely on overworked sentimentality or melodramatic angst. It washes over you, pulling you forward toward its heart through the natural strength of its emotional tide.

This disaster can’t be waved off as shallow escapism because “Tyler Perry’s Duplicity” fails on that level too, possibly keeping bored people engaged enough to follow its mystery but never really entertained.

The homages and borrowings—not just from Scorsese’s oeuvre but other widely-seen films, including a brazen lift from “Boogie Nights”—constrict the movie and prevent it from breathing on its own.

This is a delightful, thought-provoking movie that’s about a lot of things at the same time. It’ll make you see the world with fresh eyes, and probably wonder why there isn’t more art in it.

When “Revelations” isn’t investigating signs, it’s a dry, psychologically driven ghost story.

The first feature from the longtime music video director has a ton of style, and signals from the beginning her confident use of framing, texture and color.

It’s not a hard movie to follow or fall for, as fans of Guiraudie’s earlier movies already know. He commands our attention even when his characters are either too ridiculous or too petty to be taken seriously.

As a gangster film, “The Alto Knights” does little more than putter along, taking in very few new or interesting sights along the way.

Maria Schneider’s story is a tragic and often infuriating one, and “Being Maria” captures the complexity of the situation.

Locked starts promisingly, and then almost refuses to really go anywhere, trapped by its own concept and unwillingness to do anything thematically richer than “wealthy people be crazy.”

Bob Trevino Likes It is overly convenient but touching, nonetheless.

Some parts of the film work better than others, but none of it has the sweetness and imagination of the animated feature. This “Snow White” is not the fairest of them all. It’s just, well, fair.

While far from being a classic, “The Day the Earth Blew Up” is a charming and often invigorating reimagining of key Looney Tunes characters (Daffy Duck and Porky Pig), with a look and sound that links it to past versions without feeling indebted to them.

Berk and Olsen accomplish a formidable action-comedy, one that puts their horror roots in neon lights and sense of humor on equal display.

Ultimately, this is one of those movies where it seems okay if you like this sort of thing for a while, but after it crosses the 90-minute mark, it seems irretrievably a little much even if you like this sort of thing.

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.

It may not be quite as entertaining as the last time Weaving ended up in a murderous melee after a wedding ceremony. But there’s a least a few bits and bobs to keep “Borderline” from borderline failing.

Lesage supplies exemplary tension and intrigue over the course of two plus hours, while at the same time suggesting to the viewer, accurately, that anything in the way of a definitive resolution is not in the cards.