A Love Song is a companionable movie to sit through. It’s well-photographed, unobtrusively edited, full of wondrous sights, and acted by a couple of masters of warm underplaying.

Eliciting powerful performances from her two leads and striking visuals from cinematographer João Atala, “Medusa” casts its gaze at the hypocritical and violent world of purity culture with unflinching honesty that will leave the audience spellbound long after the credits roll.

When a movie doesn’t quite come together, it’s often tempting to say that something essential is missing. I’m not so sure that that’s true of “Hypochondriac,” a rather good psychodrama about repressed childhood trauma that’s also an underwhelming horror movie about mental illness.

In its understated way, the movie is a celebration of the miracle of connection.

If you squint you can nearly see the kind of movie Gutto might be aiming for.

The artful parallels that director Chan Tze Woon draws between contemporary and now middle-aged pro-democratic Hong Kong protesters often seem insubstantial given the movie’s thinly drawn narrative of historic events.

Written and directed by Andrew Semans, Resurrection is a diabolically intense psychological thriller, with two riveting central performances from Hall and Tim Roth, neither of whom shy away from the dark nutty territory they are required to enter.

Though it ignores the many situations that could go wrong in the ever-evolving universe of virtual reality, this fascinating ode to touchless connection proves beyond doubt that the intense emotions born in the skin of their avatars transcend into their flesh-and-blood hearts.

Porter’s delightful debut is perhaps most groundbreaking exactly because of this familiarity, one that grants a black, high-school-aged trans girl—a character we rarely see in cinema, if at all—a recognizable youthful tale not defined by bigoted adversity. At least not solely. In other words, what “Anything’s Possible” says is, “Here is a mix of teen romances and comedies you know, but featuring characters you might not have seen before.”

There's a little Magic Mike XXL in the mix of How to Please a Woman, with its merry band of eager-to-please strippers, although How to Please a Woman also hearkens back to The Full Monty in its surprisingly profound look at pleasure.

Without a single arthouse touch, this ultimately charming trifle could well be an American rom-com were it not quite so, well, promiscuous. In that French way.

My Old School straddles that middle-ground as well, speculating as to the inner workings of a troubled mind but more often settling for the familiar, picaresque pleasures of a great yarn colorfully retold.

Luke and the other actors do their best, especially Zosia Mamet as June’s friend and Melissa Leo as Charlie’s mother, but the dialogue never creates vivid, specific, consistent characters.

With the screams and roars of the crowd, the energy of the games, and the bullish presence of the legendary Nolan Ryan, director Jackson makes you truly understand what it is like to be a fan.

It’s a puzzle with a few pieces missing; standing back from it, you can still see the picture. But does it give the viewer exactly what they want? See the title.

It’s a silly piece of popcorn entertainment that too often forgets that this kind of venture needs to be fun.

At least all the lush trappings you’re looking for in an Austen adaptation exist here, as the story travels from stately Kellynch Hall to the quaint countryside of Uppercross to the dramatic cliffs of Lyme to the chic townhomes of Bath.

The world isn’t the happiest place to be these days, so why not cheer a little bit for a wholesome, decent character in a lovely dress?

While Where the Crawdads Sing is rich in atmosphere, it’s sorely lacking in actual substance or suspense.

Hadžihalilović's latest is both too hazy to make a great adaptation and too focused to be genuinely dream-like.

Marks has a skill with character, and her clear trust in Cho and Isaac is rewarded with a father/daughter chemistry that we believe 100%, which allows the emotional arc to connect even when we can see where it’s going.

The Deer King looks great (and has a lovely score) but it’s repetitive, predictable, and downright dull.

She Will isn't exactly a horror movie. It has its creepy moments, particularly in the visual collages and Clint Mansell's unnerving score, but it's more thought-provoking than scary.

This documentary is about resilience and advocacy, but most of all it is a love story.

The film’s images entangle us with the characters, which makes its indeterminate ending a little more disappointing than it might have been. But this post-cataclysm habitat is worth paying a visit anyway.

For better and worse, Gone in the Night feels like the directorial debut of a podcaster, somebody who knows the value of storytelling novelty and has a gift for narrative economy, but also suggests more by the grace of good casting than their own singular talents.

What I saw was a racially suspect disaster and another exploitation of Black pain for cheap, lazy thrills. Good Madam is a bad movie.

It's torment in cinematic form, made comprehensible and engrossing by its focus on a singular experience, and the performance that anchors it.