Between the lines, Scoop conveys, not only what Andrew most likely did, but what led him to assume that he’d get away with it.

Remembering Gene Wilder is a pleasant retro journey for fans and an efficient introduction to a comic genius for cineasts who might not know his work. It could have been so much more.

Wicked Little Letters is for people who like British comedy, but also for people who think British comedies are too refined for their taste. This one isn’t. It’s crude and outrageous enough to appeal to modern American audiences.

It’s hard to believe that the likable British star of “Slumdog Millionaire,” “Lion” and “The Best Exotic Marigold Hotel” could be the next actor to become a hard-charging action director. But Patel’s filmmaking debut, “Monkey Man,” makes a bone-breaking case for just that.

The acting, the setting and a feeling for the time period make “In the Land of Saints and Sinners” more than the usual action movie thrill ride, though it’s that too. That combination of elements makes this one of Neeson’s best movies of the past few years.

Halfway through, the humans recede into the background, with Dr. Andrews and crew reduced to narrating monster shenanigans instead of participating in the action. Unlike “Godzilla Minus One,” humans are expendable in gargantuan Hollywood creature features.

DogMan won’t appeal to everybody, but there’s something to be said for a movie that makes you wonder if the filmmaker has gone crazy.

If you thought you didn’t like William Shatner, see this movie to have your mind changed. And if you already like him, get ready to love the guy.

Because Gyllenhaal is a more complicated actor than Swayze, and more comically adept, the new “Road House” has more humor and more attention to the peculiarities of the central character.

This is an irresistible throwback to not only old-school horror, but old-school television.

For whatever faults she had as a candidate, Chisholm earned her paragraph in the annals of our democracy, and “Shirley” does a conscientious job of fleshing out her story.

The new film by documentary editor (“RBG”) turned director Carla Gutierrez distinguishes itself by using the artist’s own words — largely taken from Kahlo’s illustrated diary — to tell her story.

The film, “based on the incredible true story” that happened in 2014, is an efficient, fun but by-the-numbers movie that has the distinction of being shot on location in the Dominican Republic, which looks quite lovely onscreen.

This is what Hopkins has been showing us for decade after decade: the deepest, rawest and most tortured feelings of private, dignified men. His is nothing less than a glorious cinematic legacy, and the miracle is that he keeps building on it.

Ultimately, “The Breaking Ice” turns inward, to the characters’ emotional landscapes, similarly filled with craggy formations and lush periods of calm.

As a lesbian thriller, the movie calls to mind the Wachowski’s “Bound” (1996), though “Love Lies Bleeding” is clumsier and more spontaneous, as though it were being made up on the spot. Though the spontaneity ultimately exhausts itself, it’s enjoyable most of the way.

Most of the enjoyment of “American Dreamer” comes in watching Dinklage react to indignities and awkward moments.

There’s one unalloyed good thing to be said for Damsel: It marks the end of Millie Bobby Brown’s apprenticeship. Her child actress years are over. She’s grown up and ready to star in movies that audiences can take as seriously as she does.

If there’s one thing interesting about “Spaceman,” it’s how it demonstrates how a great actress’ essence — just the essence, not even the performance — can elevate a nothing part.

Morricone’s presence in the documentary is the key element, because by watching him, we understand the sensitive qualities that made him so good at interpreting and augmenting the work of others.

It’s true that “Dune 2” is as depressing as watching the news, but that doesn’t make it relevant, because it isn’t the news. It’s more like unnecessary self-torture, like watching a depressing newscast from another planet.

Ordinary Angels has some of the feeling of an after-school special because it’s a heartwarming movie in which everybody is nice. But it’s more well-made than most. It hooks the audience from the first scene and then builds in tension over the course of its almost two-hour running time.

The late film critic Roger Ebert called movies an “empathy machine,” and “Io Capitano” stands as Garrone’s plea for empathy in a debate that sorely lacks it.

Though directed by someone who has been making movies for four years, “Drive-Away Dolls” feels like a young person’s movie, which is a good thing. It also seems like a movie directed by someone who grew up watching Tarantino movies, not Coen Brothers movies, which is unexpected but welcome, too.

Grievous, loving, organic and mysterious. What a celebration.

Wenders structures the film episodically, so characters, such as a goofy co-worker, a homeless man and a suddenly appearing relative, come and go from Hirayama’s life. Thus the story relies on Yakusho to carry this movie, and that he does.

The great strength and slight weakness of “How to Have Sex” is that it’s just like being there — except you might not want to be there.

Still, for much of “Madame Web,” even when it turns bad, it’s a pleasure to see Johnson in this kind of movie.