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.