This film by Alison Ellwood feels thin. Anemic. Even shortsighted. Sure, the documentary frames the band’s story with that astounding fact of their first number one record, but beyond that underscored point, “The Go-Go’s” plays like paint by numbers for music documentaries.

Raunchy coming-of-age comedies that satirize religious hypocrisy don’t usually leave you going, “Aw, that was so sweet and innocent.” But director Karen Maine’s first feature, Yes, God, Yes, pulls off that neat trick in a surprising yet natural way.

Pike’s own commitment is wonderful to witness. Radioactive is a good movie, a bit more imaginative than most (at several points, the movie takes a quick leap into the future to show the various ways radioactivity has been used, for good and for ill), but Pike makes it something to see, simply by giving it everything.

Instead of slavishly appending cliched horror tropes onto his otherwise worthy script, Franco should have at least taken the horror genre seriously enough to investigate how he might stretch it and make it better. That was within his reach, if only he’d reached for it. Maybe next time he will.

In any case, Fatal Affair is one of those lucky efforts in which everything good about it is good and everything bad about it is fun. The cheesiness is part of the experience.

The best parts of Ai WeiWei: Yours Truly include the scenes at Ai’s studio in Beijing, as he conceives the project and we get a glimpse into how the sausage is made; and the titular focus on political prisoners.

Nikolaus Leytner’s competent, watchable but uninspired adaptation of the best-selling novel by Robert Seethaler does have a few attractions, chiefly a heartwarming farewell performance as Freud, the famed psychoanalyst, by the great Bruno Ganz, who died last year not long after filming.

An unusual and imaginative romantic comedy that takes the central idea of “Groundhog Day” and builds on it.

Just to re-emphasize, Relic is not a documentary about dementia, or a medically accurate look at the disease in the way that films such as “Away from Her” with Julie Christie or “Still Alice” with Julianne Moore were. It is a film that springs from the id, from deep-seated fear of a disease we don’t fully understand.

All of which is to say that, when it’s Hanks steering the ship and fighting the Nazis, it means something extra. It’s not just happening to him, or them, but to us. And so, we can better imagine what it cost those guys, who had to make that back-and-forth ocean voyage in the awful months before their leaders figured out how to sink the U-boats.

The Old Guard shows that, in the hands of a smart writer and director, something can be made of it that’s worthy of our attention. This genre can grow. Let’s hope it does.

Desperados is a lot of fun and announces “Saturday Night Live” alum Nasim Pedrad as a comic actress in the tradition of Sandra Bullock.

Shepard always keeps things on track, and his well-paced, beautifully scored film makes us see San Francisco in an atypical light as welcoming and beautiful, yes, but also bewildering, lonely and intimidating. Indeed, though all the refugees make varying degrees of progress, we can’t help but feel that a rocky road still lies ahead for them.

A rambling documentary that freely moves back and forth through time but maintains interest and cohesion by virtue of its subject. The more you watch Lewis, the more fascinating he gets.

Deneuve has fun with her best role in years.

Yet despite the interchangability of some of the characters, the last half of The Outpost — in which the two-day Battle of Kamdesh is condensed into an hour of horror — is a technical marvel, as the soldiers come under an attack as relentless as a tsunami.

To see performers of color so joyously at home in their roles as founding fathers and mothers, as leaders, as American myths was always one of the show’s chief gifts. In reenvisioning our past, it gave a salutary jolt to our present and helped remap our future.

The best thing about Ella Fitzgerald: Just One of Those Things, other than the music, is the way it evokes an era and reminds us that its subject was one of the great voices of the 20th century.

The movie is predictable at times, but also winning, with a thumping soundtrack and smartly written characters. Ortega, with his Peter-from-“Office Space”-deer-in-the-headlights look, is the movie’s appealing center.

At a brisk 101 minutes, My Spy doesn’t overstay its welcome. It knows exactly what it wants to be and how to get there, and it is made more engaging than it probably has any right to be thanks to the oversize charisma of its oversize star.

I don’t want to give too much away, but Amoo’s direction is strong, and his film moves in unexpected directions. Stil Williams’ cinematography is divine. Adewunmi and Ikumelo are excellent, and kudos to Pinnock, Tai Golding as young Femi, Denise Black as the foster mom, Demmy Ladipo as a gang leader and Ruthxjiah Bellenea as a potential love interest who shares Femi’s love for the Cure.

Even worse, Deerlaken, Wis., is supposed to be the “real” America, but Stewart has little interest in depicting an honest version of Midwesterners, or their problems. No actual issues that affect the town are discussed. (I have no idea what the economy of the town is, if people are struggling or what.)

Athlete A gives us the story behind the story. It’s a terrific journalism movie, but it’s also a story of young women who persevered and found justice against the odds.

It’s low-key in tone and not a splatter fest, even remotely. You Should Have Left is horror for a thinking audience.

Portrayals of transgender people in movies and television are a vast and complex subject, but Netflix’s new documentary Disclosure does an admirable job of covering many issues and contradictions a century of mostly insensitive screen depictions have raised.

A mostly absorbing but strangely inert espionage drama that could have been a heart-pounding thriller.

Miss Juneteenth, a Texas-shot film appropriately made available to stream on Friday, June 19 — the date of Juneteenth, a holiday that commemorates the end of slavery in the United States — is a rich story of broken dreams, family struggle and emotional triumph that puts black Texas women in the center of the frame.

This is one well-made thriller, and for a director who wants to work in that genre, this is as strong a first feature as any filmmaker could hope for.

Even though the movie’s engine sputters at the end, it’s beautifully shot, the actors are fun to watch, and the story is decent in fits and starts.

There are people who like movies like this, who like when a movie screen looks like their computer screen and who don’t mind when everything is fake, including the emotions. Artemis Fowl is a genre movie, and as such, it’s an OK version of the thing it is. I just can’t stand the thing it is.

In the end, Da 5 Bloods feels like a clumsy hybrid of two fine impulses — to make a heist movie set in Vietnam, and to make a statement about race in 2020. Alas, each intention doesn’t serve the other, and so both go unrealized.

Davidson’s appeal is essential to the movie’s success. If you know him only from “Saturday Night Live,” you’ll be surprised by him here. On “SNL,” he can be zany and annoying. Here he has a very particular quality that seems to be coming from a place of past pain. He has equanimity. Without making a fuss about it, he’s attentive to other people’s feelings. He just seems like a decent, thoughtful young guy, someone that you’d like to see come into his own.

1 Angry Black Man is a more thoughtful and intellectual exercise than its prosaic and incendiary title at first suggests.

The documentary might not complicate the picture you already had of Miranda, Kail, Veneziale and their team, but it nonetheless offers a profound testament to the value of finding your artistic collaborators.

It is so narrowly focused on neurotic obsessions that the quest for finding that fundamental nature of ultimate reality is sidetracked. What kind of approach is that for a Buddhist? Ferrara takes the easy way out.

There was an interesting idea at the heart of Judy & Punch, but the execution is disappointing. This feminist visit to the world of the old “Punch and Judy” puppet shows is tonally off, shifting and swerving when it should be precise and then turning earnest and explicit when it needs to be subtle.

Shirley is slow and uneventful, but intermittently interesting, and Moss is great. In the end, what tips Shirley into the realm of recommendation is that Moss will be the only thing anyone remembers of the movie. That means that, even if it’s only an OK experience, it should last as a good memory.

Becky is no “Straw Dogs.” Really, it’s mostly just a nasty genre movie with some gruesome scenes of violence. But it’s served well by a script that doesn’t merely embrace the gimmick of a pubescent girl fighting bad guys — it takes it seriously enough to explore it, at least a little.

The High Note begins well, ends well and even has a good middle, but there’s one extra plot turn, about 15 minutes before the finish, that’s one too many. It doesn’t spoil the movie, but it adds an unwelcome touch of sentimentality into a story that is otherwise fairly tough throughout.

The documentary is eye-opening and very much worth seeing, even though it can’t help but be disheartening.

Using long takes, tracking shots, segments where the screen goes pitch-black, and rapid-fire, overlapping dialogue, Patterson has created a film that forces an audience to pay attention for fear of missing something.

The Trip to Greece isn’t nonstop hilarity, but if you get into the rhythm of it, it’s laidback and pleasing. It’s an enjoyable trip in good company.

Sure, not everything is great. Here and there, the movie goes out of its way to be sentimental. But The Lovebirds is a pleasing comedy, funny from beginning to end. That should be enough for anybody.

It is quite simply one of the great “making of” documentaries of all-time — a short list that includes the George Hickenlooper-Eleanor Coppola documentary “Hearts of Darkness.”

For the most part, The Painter and the Thief seems authentic, a very real portrait of two unique individuals. It not only explores the artistic impulse, but also issues of relationships, addiction and rehab. It also provides an interesting glimpse into the Norwegian prison system, which is geared toward rehabilitation rather than punishment.

Ultimately, this is a very predictable picture, made by the director of “The Full Monty,” Peter Cattaneo. Its formula inevitably rises up like a wave and submerges everything Thomas is trying to do. To extend the metaphor, she swims along and doesn’t drown. But unless you love this kind of movie, Military Wives will be, at best, a pleasant diversion and, at worst, a not-so-bad waste of time.

Lucky Grandma isn’t a feel-good comedy at all, but has a parched-dry dark comic approach, keeping Grandma Wong at an emotional remove.

Scooby-Doo, where are you? The real one, I mean. The rest of this mess is just a series of nonsensical action sequences.

I hope casting agents and other industry types see Fourteen, because I want them to see Norma Kuhling (of the NBC series “Chicago Med”), who plays Jo. She takes this strong role, by writer-director Dan Sallitt, and hits it exactly right.

Capone is about as demented a movie as you can see right now, and that’s apart from the fact that it’s about a demented person. If Al Capone were ever put in an insane asylum (he wasn’t), this movie could have been made by the guy in the next room.

After watching Spaceship Earth, which was completed before the coronavirus pandemic, one can’t help but think about the current experiment conducted by Biosphere 1. As smog clears across urban landscapes due to stay-at-home orders, the vision — and the warnings — laid out by Biosphere 2 remain relevant.

Adapted by Caitlin Moran, from her own semi-autobiographical novel, it’s both a dead-on take on what it’s like to be a young critic as well as a smart movie about class and 1990s culture.

Most of Arkansas — Duke’s home state, by the way — just falls flat, despite individual scenes here and there that work.

Deerskin is funny, weird and original; it features two charismatic stars, and it does everything it needs to do in only 77 minutes.

Measured and somber, with few surprises.

On its own, Driveways would be a sweet, understated masterpiece, simply told, of human connection. But with the death of longtime distinguished stage and movie actor Brian Dennehy on April 15, director Andrew Ahn allows us to say a proper goodbye to the big fella, who gets the final six minutes of the movie all to himself.

It’s refreshing to see a film that not only spotlights a queer Asian American woman but also treats her with such respect and tenderness.

There’s a French saying, “In love, there is always one who kisses and one who offers the cheek,” and usually, the more interesting story belongs to the one doing the kissing. In A Secret Love, that’s Pat.

True History of the Kelly Gang may not be history as recorded by historians, but it’s history as recorded by a director with verve and vision. In this case, that’s enough.

With a sense of eccentric macabre that recalls Roald Dahl and Charles Addams, The Willoughbys arrives on Netflix with a winning, eclectic energy that should have kids — like the animated moppets in the film — bouncing off the walls. In a good way, of course.

Not surprisingly for a movie of this type, there are lots of scenes of violence, including hand-to-hand combat. The fight choreography is exceptional. In the “John Wick” movies, the violence seems almost like a ballet. Here the fighting is just as intricate, but it also seems like actual fighting, and Hemsworth seems like an actual person who’s doing it.

The adults watching know that a dinner isn’t going to heal decades of resentment, but the film charms a tiny part of you into hoping it does something, if only for the kid’s sake.

On the surface, Sweeney’s film is a playful examination of sexual fluidity, but underneath the gags, it’s really a universal, sweet movie about the modern complexities of finding a soulmate. It’s also a nice example of how independent films can breathe fresh air into genres like the romantic comedy.

An interesting movie that doesn’t completely satisfy, but its central character lingers in the mind.

Tigertail, mostly a period piece that’s also a well-wrought portrait of a man closed off from life whose despair is etched in every line on his face, isn’t satiric or comedic in the slightest.

A movie with the power to freeze the mind and make anyone watching just want to stagger away mumbling nothing but “This is awful,” over and over, until the pain goes away.

In watching The American Nurse, I saw myself not so much in the nurses but in their patients. It occurs to me the nurses are always there, from our birth to death and in between. That in the current pandemic they would need to beg for personal protective equipment is on us as a society. They are our better angels.

A funny action comedy that comes into your house in a good mood and gets the reaction it’s supposed to get: laughs.

Directed by the Polish filmmaker Malgorzata Szumowska, The Other Lamb is slow-moving but never dull, because the world of it is so distinct and odd.

Still, Elephant is affecting even on a small screen.

Overall, Dolphin Reef is spectacular. The filmmaking team does an excellent job of detailing the delicate ecosystem that supports these creatures. Although Echo and his fellow dolphins are the stars, there is a vast supporting cast of humpback whales, sharks, razorfish, sea turtles, mantis shrimp, parrotfish.

Writer-director Eliza Hittman has made a controlled and reserved film, and she has placed at its center a reserved and controlled protagonist named Autumn, played with restraint by newcomer Sidney Flanagan.

You should approach Resistance as a fact-based World War II movie and not think much about the Marceau connection. The truth is, even if young Marcel didn’t go on to become a major artist, this was a story worth telling.

Hooking Up is a pretty good movie. I enjoyed it and could even imagine watching it again. But it’s also the movie that shows that Brittany Snow doesn’t have to be relegated to pretty good movies. She’s ready for better.

Not a masterpiece that will change your life, but you’ve probably had your life changed enough lately. It’s 90 minutes of thoughtful, atmospheric, well-made entertainment, and that’s more than good enough.

Bolt tries mightily to make this weighty subject digestible to the average civilian, with some fancy, intricate animated sequences to show us how CRISPR and DNA manipulation work, and while I can’t say I came away from this film being able to coherently explain it, Human Nature works as a glimpse into possible futures and a moral dilemma that doesn’t have easy answers.

Because there’s nary a situation that seems reality-based and uncontrived in this movie that has all the subtlety of a sledgehammer, filled with over-the-top cardboard characters that seem sneered upon by their creator. If Mirabella-Davis doesn’t believe in his characters, why should we?

A lively and amiably stupid action movie, given an extra dose of atmosphere by the presence of Vin Diesel. He is his own quality control, his own authentic center, so that even in a story like this — a kind of Philip K. Dick for dummies — there’s something onscreen that’s not ridiculous, that’s reliable and consistently cool.

Melissa is the only fully developed character in an overlong, badly paced film filled with cliched dialogue and accented by pleasant yet forgettable music.

At some point or another, you will be offended by The Hunt. But see it anyway, confident in the certainty that other people — people you don’t agree with, people you don’t like — will be offended, too.

With Reichardt, you really do feel like you’re actually there. The only problem is that, a lot of the time, you’re really not happy to be there.

Director and co-writer/producer Gavin O’Connor’s meticulous drama feels authentic all the way around. The basketball feels real. The high school kids seem real. Jack’s relationship with his estranged wife Angela (Janina Gavankar) is very believable.

Armed with wit and charm to spare, Extra Ordinary is joyful and creative and deserves to find an audience — in this world or the next.

A quite interesting and irresistible movie, a sort of cross between Paul Schrader’s recent film of spiritual crisis, “First Reformed,” and Steven Spielberg’s “Catch Me If You Can.” An impostor as anguished priest.

Ting’s conceptually solid film is briskly paced, and its heart is in the right place. With a more fine-tuned screenplay, it could have been better than a serviceable movie.

At times, the story seems like a side-show, and at other times, the serious information just seems discordant. However, to the movie’s credit, none of it is boring.

Thanks to the three strong performances at its heart — especially that of a wisecracking Samuel L. Jackson (who’s also one of the producers) — The Banker often is as entertaining as it is enlightening. It’s “Hidden Figures” with redlining instead of rocket fuel.

Burden is a film of integrity, with something even better than a social conscience. It has a social purpose. If you see it, you’ll learn something.

A little film that makes a big impression.

Elisabeth Moss is an acting event all by herself, a modern version of Bette Davis, and The Invisible Man gives her a chance to embody all kinds of emotional extremes — terror, dread, madness, inconsolable grief and murderous rage.

Survivors get to tell the history, but Robbie Robertson is pushing it. The guitarist does not come off as a wholly reliable narrator in his cinematic account of the illustrious career of the Band, Once Were Brothers: Robbie Robertson and the Band.

It’s funnier than most Austen adaptations and more visually beautiful, and then there’s the movie’s odd tone, which combines a rigorous attention to period detail with an arch and seemingly modern sensibility.

With Stewart, we arrive at the only saving grace of Seberg, but a genuine saving grace. She is the only reason to see the movie, but she’s a really good reason.

Onward goes on and on, but it barely moves forward. Long before its 114-minute running time has elapsed, it has overstayed its welcome.

But most every moment Ford is in on screen is a welcome one. Buck seems more real when in Ford’s presence.

A small, independent comedy-drama that does a number of things very well. It does them all quietly. The scenes don’t swing for the fences. The emotional work is true, not pushed, and by the end, the movie ends up giving the sense of a world.

Even if the film seems slow at times, there’s always something to look at, including Miroshnichenko and Perelygina, who are able to find grace and dignity in two such odd, hollowed out characters. Maybe, just maybe, these two veterans working in a hospital can heal each other.

Unfortunately, the scares aren’t particularly scary, the lessons aren’t particularly compelling, and the ultimate resolution takes far too long to arrive at a conclusion that’s far too pat.