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.

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.

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.

There’s a difference between extending a story and deepening it. While this latest entry is thoughtful and stirring, it doesn’t exactly improve upon the elegant finality the series granted Tommy Shelby four years ago. Sometimes the most powerful ending is the one that understands when enough has been said.

In the Blink of an Eye proves yet again that Stanton is a dreamer, with an unshakeable faith in humanity. That’s not nothing.

Knowing what Powell is capable of, it’s not unreasonable to go into this expecting a bigger payoff.

Crime 101 is often smart, ultimately ridiculous — man, that ending! — and mostly absorbing. But as with Davis’ sleek rides, your mileage may vary.

Yes, Charli is playing a version of herself, but she does it well.

So Orwell it’s not. But “Mercy” is a cinematic feat of a different kind, even if it begins to fade soon after leaving the theater.

The Rip is another one — efficient for what it is, but if it’s remembered at all it will be for Damon and Affleck’s matching beards and effortless way of appearing at home together onscreen.

Although more Fiennes is always a good thing, 28 Years Later: The Bone Temple simply doesn’t have the solid storytelling or enthralling characters that its predecessor has.

The inescapable, undeniable weakness of Father Mother Sister Brother is that, while its first part is thoroughly satisfying, its second part is just OK, and its third part is close to a waste of time.

As Ella, Mackey shows that she can carry a movie and remain sympathetic, despite a script that sometimes works against her.

It all becomes silly, monotonous and boring. Maybe not as monotonous as being cast out into void, but boring enough to put you to sleep.

It’s such a pure delight to see Erivo and Grande just standing around when they finally duet on “For Good” that we will take that scene over a hundred where their characters dance, preen or ride a broom on their own.

Describing this makes it sound like there’s more plot than there actually is, but “The Carpenter’s Son” isn’t a conventional story. It’s more of a mood piece, with a true run time of just barely 90 minutes. But it’s got Cage, and that’s the difference maker.

It’s hard to make a two-plus-hour chase movie like this compelling, but Wright gives it a go by peppering the cast with brief appearances by characters far more interesting who help Ben along his way.

Die My Love is not plot-driven, with events that don’t necessarily follow one another in cause and effect. Rather, it’s a slow-burn psychological drama populated by imperfect people struggling with painful realities. Instead of a dramatic arc, it’s a dramatic decline.

Whatever their differences, love is this family’s language, and that’s undeniable throughout “Road Between Us.”

The narrative is hamstrung by cliché attempts to build McKay’s backstory, shamelessly changing key facts. McConaughey’s performance is just fine, as is Ferrera’s, but the personal stuff feels like a distraction.

Ultimately, “The Long Walk” is a heartfelt metaphorical drama about people bonding under duress. Instead of focusing on the darker side of human nature one might expect from the average dystopian film, it finds power in small acts of connection.

Entertainment value and reasonable length still make the film a decent, low-effort option for home viewers — especially those already subscribed to Hulu.

Two decades after its predecessor, Disney’s “Freakier Friday” plunges back into “legacy sequel” waters — where nostalgia keeps storylines afloat and originality barely treads water.

Superman is a mess, but it’s a colorful one. It’s either a terrible superhero movie or an OK parody, take your pick.

Despite moments of unintentional humor, “The Ritual” has an appealing gravity about it, which probably derives from its adherence to the historical record.

The fighting in the “Karate Kid” movies and its Netflix series offshoot, “Cobra Kai,” has always been quality, but in “Legends” it’s too quick-cutting and chaotic, hard to follow and over much too quickly.

Male loneliness and insecurity is a thing and the subject of much discussion in media. For me, though, there’s only so much cringe you can binge.

Rust isn’t so much a poor story or even badly told; there’s just too much of it, strung out along a discursive narrative trail that turns out to be unnecessarily repetitious.