If anything, this modest but entirely charming movie may deserve a tiny slice of immortality by showing the kind of goofy, escapist fun that can be created even in a grim time.

The by-the-numbers film is not hard to sit through and won’t offend anybody, but its lofty, worthwhile message doesn’t feel earned.

The results may be sports-movie predictable in many ways, but the Mighty Mites’ impossible story is one deserving of resurrection from the dusty archives of Texas history.

Full of action without thrills, comedy without laughs, noise without meaning and violence without reason (or even any cool combat choreography), it’s a headache with a Hollywood marketing budget.

To its credit, no matter how self-important and dreary Infinite gets at times, it’s never dull, and there’s always a little sparkle to it and a reason to keep watching.

Awake fails only in the sense that it’s a movie in one note, and thus its story only knows one direction, which is downhill.

The obvious thing to expect here is that writer-director Christian Petzold is using the Undine”myth as a metaphor. But no, he’s doing the actual myth.

Ali has done such a masterful job laying out his tableau that we’re not only enamored with the characters, we want to know where they end up.

Poysti’s subtle, layered performance conveys Tove’s complex dilemma with sweetness and pain. This is a portrait not of a lady on fire, but of a woman struggling to strike the match.

In this new Conjuring, every scene of demonic possession, every demonic hallucination, and every underworld visit and visitation land with unsettling impact. These are, in a sense, action scenes, and they’re creepy, chilling and very well done.

Whatever its weaknesses, contemporary parents who want a nontoxic Western to show their children could hardly find better than “Spirit Untamed.” It takes the idea at the end of genre master John Ford’s “The Man Who Shot Liberty Valance” (“This is the West, sir. When the legend becomes fact, print the legend”) and virtually rides off in its own, counter-mythic direction with it.

Although much of the footage is unseen, perhaps the freshest part of Apocalypse ’45 is hearing the veterans debate whether the U.S. should have dropped the atomic bombs, and how America has progressed in the decades since.

It presents a mostly sympathetic portrait of Mildred Gillars, the American actress who made propaganda radio broadcasts for the Nazis during World War II. Not an impossible task, but a tough one that the best efforts of producer-star Meadow Williams and director Michael Polish couldn’t make persuasive.

Oslo ultimately acknowledges that the Israeli-Palestinian conflict is anything but resolved, and shows why even this first, limited step toward settling it was so immensely difficult. Whether we’re in the mood to find it entertaining right now remains in dispute.

Plan B is ultimately a gross-out sex comedy that has more than sex on its mind. It seems odd to consider a film with such familiar beats radical, but the word fits here, in the best sense.

The idea of a worldwide calamity returning with a vengeance is an awful prospect that audiences, at this moment in particular, might find dreadful. So, it’s especially easy to sympathize with the characters in these early moments. Yet after the opening, A Quiet Place II doesn’t show us anything new, and soon the movie’s energy flags.

Everything that’s good about Cruella can’t obscure the fact that it was a very bad idea. The movie makes gestures toward style. It has first-rate costume design. The soundtrack contains a series of well-loved but mostly irrelevant pop songs from the 1960s and ’70s. But we still end up with a movie that should never have been made.

Port Authority is never in a hurry. It often feels like it’s being lived as you watch. That won’t satisfy viewers who need a tight narrative with recognizable beats, but if you’re looking for an immersive love story that takes you places you might not know, that challenges your conception of what romance looks and feels like, Port Authority is a great place to stop.

Art is either alive or dead, and this movie is emphatically and exuberantly living, energized by what can only truly be described as love. The movie’s love is for the place, for the characters and for all their dreams. In movies, as in life, love is rare. It makes everything better, and it must be respected.

Dream Horse is full of heart and interest. Throughout, Collette makes us believe in the human-animal connection between Jan and Dream Alliance, which is touching, mysterious and deep.

Bana is rock-solid throughout, able to convey sensitivity and moral probity through a not quite impassive facade — never overdoing it, never underdoing it — and yet fulfilling his duties as the movie’s locus of feeling and meaning.

In the end, the power of Final Account resides in the way it shows how human nature reacts to lies, propaganda and state-sanctioned atrocity. Some people, looking for an excuse to do evil, will jump right in. A very tiny faction will risk all to fight against them.

Snyder served as his own director of photography for the first time and, aided by terrific effects makeup and digital production design, he’s created a sprawling graveyard Vegas of detailed, decaying awesomeness.

At its heart, it’s a darkly comic drama about a man trained to be a killing machine who must rediscover his own humanity before his daughter loses hers. Along the way, a family of quirky characters is formed.

The Woman in the Window is, unfortunately, one of Wright’s amazingly bad movies, and this is a shame, with Amy Adams at the center of it.

Those Who Wish Me Dead pretty much works on the gut-level way it was intended, but it gets extra credit for being unintentionally funny.

Aside from the disgusting parts, Spiral is a fairly decent thriller.

If nothing else, The Human Factor demonstrates the tall task that awaits President Biden’s secretary of state, Antony Blinken. Good luck.