Leatherheads is most on its game when it's in the game, and in the zone of Clooney's no-bull affection for the faces of his actors.

As a thriller, The Recruit is merely an entertaining ride. But remember: Nothing is what it seems. It's the subtext -- two actors from different generations faking each other out with skill and affection -- that counts.

Following his surprisingly subtle work in "Sleeping With Other People," Sudeikis again shows real skills as an actor.

You could call it an Aussie "Dreamgirls." I'd call it a blast of joy and music that struts right into your heart.

Foster keeps the party hopping, although more dark humor would have helped before she winds it down with sentiment and bromides.

This mesmerizing mind-bender ought to prove two things: (1) Robert Pattinson really can act; (2) Director David Cronenberg never runs from a challenge.

Molly's Game bristles with fun zingers, electric energy and Sorkin's brand of verbal fireworks – all of which help enormously when the movie falters in fleshing out its characters.

Bateman's dazzling deadpan can raise tired zingers to raucous life with only a throwaway eyebrow lift. And McAdams takes to comedy with a natural actor's grace and precision. Talk about fun company. They're it.

It also addresses questions of aging and neglect that Hollywood likes to run from. Langella, who's played everyone from Dracula to Nixon onscreen, is giving a master class in acting. Enroll now.

Because Allen hasn't lost his knack for slapstick with a sting, Anything Else hits its mark more often than not.

It's a winner. And not just for oenophiles. Director Randall Miller, who co-wrote the script with his wife Jody Savin, keeps the plot brimming with spirit and wit.

Potent if hardly evenhanded documentary.

With House of Gucci, you get a jumble of stories jockeying for screen time, and then you get a supernova blazing at the center of all of it that burns everything superfluous away. If the film is remembered for anything, it’s for being Exhibit A as what a great actor she is. Forget Gucci. Long live the house that Gaga built.

While there’s nothing on the level of Pearl‘s climactic monologue or credit-roll close-up, Goth still turns this revenge-of-the-final-girl parable into superior flashback pulp.

The acid comedy of Grant's performance carries the film. It helps also that newcomer Hoult is that rare child actor who mercifully underplays the pathos of his role.

How sexism, toxic masculinity, complicity, and not-so-borderline criminal behavior is baked into the music business gets pecked at but never fully unpacked.

The reason that Boy Erased hits you like a shot in the heart can be found in Jared’s relationship with his parents. Kidman brings stirring compassion and a growing strength to a woman who learns about herself the more she learns about her son. And Crowe is magnificent as a believer who can’t quite storm the barricades his faith erects around a true reconciliation with his son.

Come for the way this film twists a disaster-movie premise into sociological commentary while still bringing the weirdness. Stay for how Kircher and Duris embed a father-son story into the fantastical elements, and transform a far-out tale of genetics run amuck into an elegy about the pain of letting go.

Even when Light of My Life feels like it’s straining under the heaviness of its storytelling, there’s something about the way he guides us to an inevitable endgame that suggests the filmmaker knows what he’s doing. It’s not a pretty picture he paints here. But it makes you want Affleck to keep picking up that brush.

The expression here is one of shared humanity regardless of background, gender identity, race or creed. The common language being used here is cinema.

Irresistibly silly.

The movie comes not to bury this legend but to praise him. Inhuman endurance or not, you worry it may end up having to do the former regardless.

Seen more as a complement to that actual interview than a forensic breakdown of the story behind it, the movie succeeds in showing viewers that, even in this age of clickbait and quick hits, the slow and steady professionalism of real journalists attempting the Quixotic quest of practicing real journalism can still bring down a giant.

It’s funny — as is a lot of this eager-to-please, all-over-the-place movie — thanks to the dry snap of Moran’s dialogue and Feldstein’s exhilarating performance.

Ignore the film’s foolish framing device and Halston emerges as a fascinating study of a fashion artist who allowed women to live an idealized vision of themselves.

A top cast, guided by actress Bonnie Hunt in her directing debut, mixes comedy and corn with savvy.

We have plenty of information about the idea of the Notorious B.I.G., but Biggie: I Got a Story to Tell offers a rare look at the actual human being behind the legend.

It’s a messy movie about messy lives, occasionally in ways you wish it wasn’t. But The Iron Claw is also a story of redemption that’s less about pinning down opponents and much more about breaking cycles.