Ross doesn’t gloss over the challenges facing the rural black county, but he finds a strong spirit there, even as the storm clouds hover.

As much as anything we’ve seen in recent years, the film is confirmation that artists, not paranoid executives, continue to make the big calls at Disney. And as long as that continues, a few glitches in the plot won’t ruin anyone’s good time.

In At Eternity’s Gate, Dafoe often works in silence, but tells us everything we need to know with his face and eyes.

The second-half of Burning is allegorical and intentionally obtuse. It’s intriguing, even. But it all leads to an ending that satisfies no one, especially after 2½ hours.

By the time we reach the unsatisfying cliffhanger ending, there’s little to look forward to.

A near-miss, but a miss all the same.

There’s something so deeply right about this movie, so true to the time depicted and so welcome in this moment; so light in its touch, so properly respectful of its characters, and so big in its spirit that the movie acquires a glow.

Most of Widows isn’t felt. It’s a cold exercise, and occasionally a ridiculous one, as when McQueen tries to get fancy, with camera angles that make no sense.

The strength of the Coens is that they are so witty, skilled and smart, so in command of their medium, so fluid and agile, so capable of surprising and delighting from every angle, that they can make the grimmest story bearable, even palatable.

The enjoyment one wants from GIs fighting these creatures is stunted by the film’s lack of energy and imagination.

Prospect has a lived-in, working-class vibe at odds with so much of the gleaming, brave new world that is the science-fiction cliché.

This film is the equivalent of your third or fourth favorite present on any given holiday. It will entertain a few children in the moment, satisfy a few adults who are barely paying attention, then quickly be forgotten.

Unmistakable political overtones populate the documentary Monrovia, Indiana, an examination of day-to-day life in a small, red-state town.

Foy is anything but mysterious or feral. Rooney Mara and Noomi Rapace, who previously played this role, seemed appropriately weird, but weird depends on hiding something, and Foy hides nothing.

Pike’s Colvin is brave, but she’s not tough, and, scene by scene, she reveals more and gives more than she probably means to.

Though the ambitious Outlaw King doesn’t always fire on all cylinders, moviegoers deserve this chance to see it on the big screen, before it starts showing on a laptop near you.

Director Joseph Kahn and writer Alex Larsen exhibit tremendous glee in their takedown of everything that even smacks of political correctness, though at two hours, that excitement causes much of the dramatic tension in the plot to dissipate before the climactic battles.

Maria By Callas finds lots of press footage that most of us have never seen, filmed interviews either for television or newsreels, and it’s all fascinating.

A new documentary, The Great Buster: A Celebration, shows us why he inspires rhapsodies from critics and film historians, and would be a fine introduction for those who don’t know his work.

In a film that should be dripping with drama, there is surprisingly little tension.

Obviously, sports fans will get the most out of In Search of Greatness. But there are self-help tropes for everyone.

Joel Edgerton, who wrote and directed, co-stars in Boy Erased. Edgerton casts himself as Sykes, who runs the conversion program, and he couldn’t have found a better actor for the role.

Suspiria is not just a movie unworthy of your time. It’s an experience one should reflexively recoil from, up there with things like fire, pain, humiliation and embarrassment. Easily, it’s one of the worst movies of 2018.

If only the villains were more villainous, the plot more intriguing and the jokes funnier, The Nutcracker and the Four Realms would be one for the ages.

Bohemian Rhapsody is probably what Freddie Mercury was aiming for all along, a big, splashy, half-true biopic in the Hollywood style. It’s a bit corny, but grand; a bit obvious, but entertaining, and inspiring almost in spite of itself.

This is a film that wears its anti-tech bent like an old James Bond wristwatch.

The movie works by stringing together many small observations to develop a portrait more quiet and revealing than many overwrought films that strain to address hot-button issues.

Wildlife isn’t dazzling entertainment but an intelligent, low-key and satisfying film with a rare respect for every character.