In the end, though, “Kneecap” is a dramatically well-structured tale of cultural and personal reclamation – done in the cheekiest, craic-talking way imaginable. It’s as if “The Commitments” had a bastard child with “The Crying Game,” and it mutated into its own, magnificently defiant thing.

Genre movies like “The Fabulous Four” can only be so good, but it’s pleasing enough to do its job.

It’s definitely not for everybody, but even a non-fan stumbling into the theater accidentally will find whole sections here to enjoy.

There was enough story here for an epic, but Napper chose to make a poem-like movie, one that sustains a tone of mystery and wonder from start to finish.

The last 15 minutes of “Twisters” are so much fun that they might easily convince viewers that they’ve seen a good movie. So this leaves you with a choice: Is it worth suffering through a boring hour and a so-so half hour, just to see an entertaining opening and a genuinely exciting finish? I know what I’d say (nope), but this is one you’ll have to decide for yourself.

Ultimately, the film does its job with skill and heart.

It’s a potent and timely slice of Americana.

Produced by the New York Times and featuring the three reporters who broke the news (Melena Ryzik, Cara Buckley and Jodi Kantor), the film resonates by telling the story behind the story, about how the victims of sexual harassment and misconduct are often blamed, especially when their harasser is famous, popular and very funny.

Green Border has the directness and truth of a documentary and the emotional immediacy of a narrative feature.

Fly to the Moon is absolutely awful. The only interesting thing about it is how long it takes for a viewer to figure out how bad it really is.

Longlegs is a conjuring of dark, poetic cinema where the devil is definitely in the details.

Despicable Me 4 is co-written by Mike White (“Migration”) and has a bit more wit and heart — not to mention a few more laughs — than the recent entries in the “Despicable” series.

MaXXXine, clearly boasting a higher budget, stands as a bloody valentine to Hollywood. It’s a cesspool, all right, but it’s our cesspool, he seems to say, and guess what? Every once in a while true art comes out of it.

Murphy is the key here. It would be a pleasant surprise to our time-traveling moviegoer from 1984 to find Murphy looking so much like his old self and in possession of his old gifts. His comic timing remains impeccable, and laughing with him here is both fresh and familiar, an ideal combination.

Though each of the plotlines in “June Zero” stir up ethical questions, its primary approach is to look at people living their lives while an extraordinary event comes to its climax. That leaves the movie open to multiple, marvelous interpretations, as a decades-later coda suggests history will do anyway.

A Quiet Place: Day One is about a cancer patient in hospice who hopes to die with dignity. Also, there are terrible monsters threatening humanity. What an odd idea for a horror prequel.

A Family Affair never even makes the case as to why these people should be together.

The human connection the two characters make in this film would be understandable to anyone in any century, past or future. For that reason, there’s a very good chance here that Hall, Penn and Johnson have made more than a good movie with “Daddio.” They may have made a classic.

Gladstone (“Under the Bridge”), Oscar-nominated for Martin Scorsese’s “Killers of the Flower Moon,” is the heart and soul of “Fancy Dance,” which in other hands might have been a noirish thriller. But writer-director Erica Tremblay has something else in mind: a finely crafted drama about a woman and her niece who are unwilling to let the hopelessness of her situation define her.

The best thing that can be said for “Kinds of Kindness” is that it’s never quite boring, despite being 164-minutes long and lacking much of a story.

This is a welcome and unusual movie, and Gere gives a compelling performance.

Well-acted as far as superficial characterizations allow (Costner and Jon Baird share screenplay credit) and impressively mounted for a wide-open-spaces pageant that, quizzically, was not shot in widescreen, “Horizon” is most successful at filling its frames with ambition.

Even if you’d never in a million years want to ride with these guys, “The Bikeriders” makes you understand why they wanted to ride with each other.

The tone of “The Exorcism” is deadly serious, but one wonders if the premise might have worked better as a scary comedy rather than as a scary drama.

Thelma always emphasizes seniors’ capabilities, not their limits.

At just under two hours, "Ultraman: Rising" is a bit longer than it needs to be, but buoyed by a strong voice cast and a unique point of view that blends elements of superhero action with heartfelt family drama, it's an effective reinvention of a franchise that's had more than its share of reboots over the last 58 years.

Almost single handedly, [Louis-Dreyfus] muscles “Tuesday” into the territory of being worth seeing.

What “The Grab” doesn’t do quite well is sell its argument or weave its many disparate, admirably reported discoveries into a graspable whole.