It’s a sweet movie that accidentally expresses ideas that are complicated and perverse. This isn’t enough to make “Upgraded” transcend its formula, but it does make it slightly better than it had to be.

The Peasants is filled with sniping, fistfights, brutal violence and sexual assaults and becomes unbearable through its nearly two-hour running time. Most of these characters you wouldn’t want to spend more than five minutes with, if that.

Suncoast is a personal and mostly quiet movie, but it has the force of a real expression, of something that somebody just needed to say.

The only thing to take from the wreckage of “Lisa Frankenstein” is the performance of Soberano, in her Hollywood debut. She finds comedy in a weak script and radiates goodness without being boring. Let’s hope she has better movies in her future.

What has gone wrong in director Matthew Vaughn’s process that he can offer up an awful mess like “Argylle” and just hope that nobody will notice? He must notice.

Sometimes I Think About Dying is a good calling card for Ridley, who proves that she’s not limited to playing spunky adventuresses from a long time ago in a galaxy far, far away. Rather, she has a compressed intensity that could be put to good use in a variety of roles.

The movie is silly and fun enough to enchant younger audiences, not to mention impart life-balance lessons that kids from 8 to 80 ought to know.

The problem with “The Tiger’s Apprentice” is it sacrifices character and story for the repetitive mind-numbing action we have come to expect from such fantasy and superhero films.

Centuries ago, the heath lands of Denmark were rough-hewn, expansive and notoriously unforgiving. In the new Danish film “The Promised Land,” those words could also describe the face of its star, Mads Mikkelsen. One of the great visages in movies, it has a landscape all its own.

American Star is a nice surprise. To hear it described, its premise sounds almost ridiculously predictable: Ian McShane as an old hit man on his last assignment. But the movie turns out to be a serious work that goes to unexpected places.

Snoop has obviously made a real-life impact in his community. Too bad he couldn’t make one in reel life as well.

The wordless, elderly Kiefer is enigmatic, and a bit intimidating. His work is impressive, though, especially in 3D.

Essentially, “I.S.S.” is a fine movie for what it is, and the only reservation is what it is. It’s a cramped-space movie in which the stakes feel higher to the characters than they do for us.

Whatever it is, it’s the rare case of an intelligent disaster movie.

The movie starts to fray once we realize that DuVernay is not going to make a case for Wilkerson’s ideas. Rather, she plans to serve them up as undeniable truths.

The Beekeeper is the purest stupid fun I’ve had in a movie theater since “F9: The Fast Saga” in 2021.

This is one of those projects in which everyone on set seemed to have fun making a movie. That joy comes through, even if the finished film induces a good-natured shrug.

Even with its floating hookah smokers, this movie feels far more grounded than most shows that grapple with the divine.

Germain and Brown open up the stage play with flashbacks, which are not nearly as effective as the two guys talking. But as long as they’re talking, and they talk enough, “Freud’s Last Session” is very much worth seeing.

Despite some missteps, this version of “Mean Girls,” especially in its reframing of Janis, promotes feminism and inclusion almost as fervently as “Barbie” — although its characters still only wear pink on Wednesdays.

This may not be Martin Scorsese's most sophisticated film, but it actually takes a smart filmmaker to understand that, with a subject like Fran Lebowitz, the best thing you can do is let her talk.

Maybe Glazer’s movie will be of use to people naïve enough to believe that nobody without horns and a pitchfork can be the devil. Everybody else will learn nothing from this film.

The tone is low-key, and Franco never presses the audience. Instead, he lets scenes happen, avoiding close-ups and all other means of exaggeration or emphasis.

While not offering anything particularly surprising or challenging in its take on the unpredictable shadow of loss, “Good Grief” delivers plenty of heart.

The good news is you can bring the kids. When it comes time for swimming lessons next summer, there’s nothing they’ll remember from this that’ll make them afraid of the water.

A very fine actor when he’s not directing bad “Insidious” sequels, Wilson is the only performer here who extracts conflict, growth and genuine wit out of David Leslie Johnson-McGoldrick’s surface-skimming script.

Though “Society of the Snow” has its moments, it’s difficult to see what was gained by telling the story as a dramatic feature. Yes, in a documentary we’d lose the amazing crash scene, but the story would otherwise be better served by a straight laying out of the facts.

The character moments here resonate, and there are enough stakes to make the final scenes feel meaningful.