When the end finally arrives, it brings no sense of completion, just a sort of numb awareness that the pain has stopped.

Aside from the defection scene, the only tension in The White Crow concerns whether Nureyev will achieve the renown he deserves or whether his career will be killed in the crib. That’s not nothing, but it’s small stuff to peg a two-hour movie on, especially one with an unsympathetic protagonist.

There is a kind of historical British movie — Tolkien is one of them — that almost feels as if the subject were incidental.

Reynolds often seems lost for material, whether it’s the restrictions of the PG rating, or deficiencies created by the four screenwriters. By the halfway mark Pikachu might as well be in an “Alvin and the Chipmunks” sequel, resorting to bodily function jokes.

Judging by her funny, warm, drawn-from-life feature directing debut Wine Country, Amy Poehler is a gracious friend. She and screenwriters Emily Spivey and Liz Cackowski ensure that the many former “Saturday Night Live” performers and writers assembled for this Napa Valley-set Netflix comedy get moments to shine.

UglyDolls is a mind-numbing, low-rent version of “Toy Story,” with saccharine songs and a plot with echoes of, no kidding, the Holocaust. If you’re under 10, you might like it.

A B-movie with a few thrills and plenty of inane dialogue.

By the end, we’ve experienced one of the best films about street hustling ever made.

Visually, Bi is already a master. There are amazing shots that recall Tarkovsky (especially “Stalker,” an acknowledged influence), or early Wong Kar-Wai.

Like the best love stories, funny or otherwise, this movie also recognizes that being in love is an education, and that, if people are lucky, they choose the right teacher.

Diego also lacks any nuance as a character. He is grim and humorless, like most everything else about this film.

White, who has done documentaries about Serena Williams, Beatles secretary Freda Kelly and the Netlfix series “The Keepers,” is an efficient storyteller who keeps things moving. There is a wealth of archival material, and clips from her 1980s television life. He neatly makes the case for Westheimer; openly talking about sex is now commonplace, but not when she started.

The overall mood is out-and-out misty-eyed, a feeling emphasized by the movie’s piano score. Ramen Shop has some flaws — the movie jumps jarringly back and forth in time — but voluptuous closeups of delightful dishes like chilli crab make up for a lot.

The joy of discovery is at the heart of Penguin Highway, a delightful new anime that is about the mysteries of life, both scientific and personal. Oh, and it’s about penguins, too.

Hail Satan? is too lacking in conflict (apart from the eternal one) to be a true study of a movement. But it’s a highly entertaining survey.

It’s rather amazing that Sophie Cookson, who has most of the screen time as young Joan, isn’t detestable in the role. It tells you that she’d be perfectly charming in another movie. Actually, Dench is more off-putting here, if only because destructive naivete is more forgivable in the young.

If you partake of the Marvel universe, this movie is for you no matter what. And if you don’t, seeing it would be like going to church if you’re an atheist — an experience of spectacle unmoored from any purpose or definition. In the case of “Endgame,” we’re talking fine spectacle, to be sure, the best that money can buy. But all the same, this one is strictly for the faithful.

JT Leroy is on safer ground when Albert and Knoop are matching wits, mainly because it’s a pleasure to watch the perfectly cast Dern and Stewart on the screen. It’s easy to understand what attracted these fine actors to these roles, but the script allows them to only scratch the surface of this maze-of-mirrors story, where the truth remains deliciously elusive.

So, Dogman is a strange case: Great actor, great character, but a story that’s like an overstretched anecdote infused with art-film portent.

The movie’s one flaw, a notable one, is that the first hour is better than the second. The first is jaw-dropping. In the second half, the film slow downs somewhat, but by then, the audience is hooked into the movie’s reality, so there’s no turning away.

Girls of the Sun has an air of authenticity and grit that’s convincing, and Farahani, an Iranian-born actress, makes us care.

Everyone comes out of Little Woods looking good, and DaCosta comes out with a directing career.

Fast Color is not a success, in that it’s not enjoyable as entertainment. It doesn’t hold an audience.

The story is well-told, but what makes it interesting is that each character confronts his or her own crisis — even Tommie, the paramedic who rescued him. It also drives home the point that a seemingly small tragic event can affect an entire community.

It’s admirable, but it has long stretches of dull, and the tickets aren’t free.

It’s a charming throwback to the martial-arts films of the ’70s and ’80s, with dazzling combat sequences punctuated by stiffly delivered exposition and hammy acting.

This Hellboy has story problems, with too much exposition and not enough character development. “Stranger Things” actor David Harbour, seemingly a perfect choice for his ability to project melancholy and a luggish humor, isn’t given enough time to do either of those things.

It’s hardly a masterpiece — it’s a fairly simple tale, well-told, with a silly, derivative climax and rather disappointingly brief depiction of the Yeti culture. Yet it is blessedly devoid of the manic, ADD pace of many animated movies, with a winning trio of characters. As Commander McBragg might say, “Jolly good show!”