For those who just come for the music, “Hit Me Hard and Soft” hits the spot, covering most of her best songs, from “Chihiro” to “Everything I Wanted” and “Bad Guy,” while providing a limited yet fascinating window into Eilish’s workaday world.

One might quibble that Jackman and Thompson aren’t in the film enough, but really, humans are a distraction. The movie rides on its woolly sleuths, so audiences won’t feel fleeced.

Mortal Kombat II is a sterling example of an action movie that starts out dumb but gradually becomes kind of awesome — and a little bit smarter.

At its best, “Erupcja” feels truthful, even insightful. At its worst, it’s an off-putting selfie of the chronically self-absorbed, like a big-screen “Girls.” It does offer an interesting perspective on its case of apparent synchronicity late in the film, but leaves plenty for viewers to ponder on their own.

The result is smart and witty, with just enough obvious nods to the present to serve as a capsule of this unstable moment in media, much as the first film captured for the waning golden days of glossy publications.

Uncertainty is a genre trope this director is particularly gifted at manipulating. So many horror films are incoherent due to a lack of good writing; if anything in McCarthy’s script isn’t fully clear, it’s in the same manner that life itself fails to make sense.

Taccone can’t find the right mix of comedy and horror in “Over Your Dead Body,” which is a faithful — perhaps too faithful — remake of a 2021 Norwegian film, “The Trip.”

Like the King of Pop himself, “Michael” is unashamedly a crowd-pleaser.

In honor of NOFX’s final performances, the punk band produced and candidly participated in the documentary “40 Years of F—in’ Up.” The result is even wilder than expected and more heartfelt than it has any right to be. Even still, it will likely be more appreciated by fans of the veteran California punks than by anyone new to their music.

It’s a good film, very unlike most “disease of the week” pictures, in that it’s often quite funny, and it tells a fascinating story about something that remains mysterious to most people.

Lorne makes it clear that nearly everyone in the entertainment industry who is known for creating laughs owes a debt of gratitude to the master.

Instead of settling for a tour de force from McKellen, Soderbergh goes for something better — a fascinating give and take from start to finish.

Like “Nobody” and “Nobody 2”, “Normal” is a satisfyingly amusing, get-in and get-out (all three films are about 90 minutes) piece of violent mayhem.

Jonah Hill has directed and co-written an impressive little movie with “Outcome.” It could be called a Hollywood satire, but what’s striking about it — and audacious and unexpected — is that it’s dramatic and heartfelt. Here and there, it even comes close to being sentimental.

Nate Parker’s film isn’t always successful at balancing empathy with suspense or its prison reform message with character development. But there are engaging moments from start to finish, with a plot that, while not as surprising as writer-director Parker may have thought, wracks nerves multiple times.

Cast adrift in this aimless movie, Ahmed seems lost. His performance is one in an unfortunate tradition of weepy Hamlets, and his problems are compounded by the fact that his weepiness is unconvincing. Each time he teared up while delivering a soliloquy, I felt that he was trying to sell me a used car.

It’s Zendaya’s movie. Her layered performance holds back then lets go as Emma’s full complexity is gradually revealed. If you can’t get onboard with Emma, then you’re the problem — which partly is Borgli’s intention.

It’s bigger, vibrantly colorful and slightly more ambitious, with glimpses of an interesting movie trying to break through, but it keeps snapping back to what’s safe.

Sokolov has cited notable filmmakers like Sergio Leone, Park Chan-wook and Quentin Tarantino as influences, and their inspiration can be seen in the film’s tense standoffs, corridor fights and flashing swordplay, respectively. For all that and some original flourishes, though, this mainly feels like a Radio Silence rehash.

It’s a visually pleasing, vibe-rich diversion that is as enjoyable as flipping through a well-laid-out fashion magazine, or perhaps perusing through Coppola’s accompanying coffee table book on Jacobs of the same name.

Byrne makes Amanda compelling from the first moments of “Tow,” a moving if also obviously low-budget and occasionally corny underdog story.

The film details how constant propaganda, lies and outright gaslighting can effectively numb and coerce a populace.

It’s billed as another horror comedy, but when tidbits of humor manifest, it feels forced. There are few notable moments.

Dialogue, quirky incidents and a general acceptance that this is the unfortunate way life is make this more than just a genre exercise, though hardly a breathtaking grabber of “Get Out” proportions.

Wang deals out absurdist humor with a deft hand, especially in scenes where Ethnos and its corporate videos extoll the so-called joys of whiteness.

While “André Is an Idiot” serves as a great reminder to schedule some basic health screenings, it also explores how best to find the quality of a life when its quantity is clearly defined.

Like “It Ends with Us,” which was also based on a Colleen Hoover novel, “Reminders of Him” is a movie whose willingness to be deeply unpleasant saves it from becoming a soap opera.

The Optimist could be described as a Holocaust drama, but it approaches that history in an unexpected way.