While Pick of the Litter can’t be described as innovative, it still creates a solid emotional punch when we see several of the five now-grown dogs finally matched with grateful humans. It’s quite moving to hear the recipients detail how liberating it is to have the assistance of one of these amazing animals.

The already confusing story loses all hope of clarity as day turns to night — the second half of the movie is in near-darkness, making even the stylish visuals hard to decipher. What little interest you have in the characters is effectively extinguished as well.

Through a stellar effort by Jennifer Garner and some well-executed revenge sequences, Peppermint just feels good to watch.

The Nun is certainly not a terrible horror movie – the production values are stellar, and there is a decent backstory about the abbey. But the film won’t be remembered as one of the top entries in the expanding canon of the Conjuring Universe.

Even if the proceedings sometime feel like a travelogue, the reconstructions of Gabriel’s last days alive, down to the exact locations and personal interactions, leave a strong impression.

The Little Stranger will satisfy a very specific audience: “Downton Abbey” watchers who thought that show would be perfect if only the manor were down at the heels and haunted.

The Bookshop isn’t an especially good film, but there’s no shortage of good in it.

Kin is not a snoozer, at least, and the Baker brothers are certainly not untalented, but their genre-mashing experiment doesn’t work on any emotional level.

An invaluable piece of sports history, with 16mm images by de Kermadec that are succulently detailed.

Although it has its merits, Operation Finale — which recounts the 1960 extraction of Adolf Eichmann from Argentina and his delivery to Jerusalem to stand trial — fails to measure up to the deep historical impact of the events it depicts.

Juliet, Naked is very like a Hornby novel in that it’s irresistible and appealing and full of tenderness and idiosyncrasy, and yet when you try to tell people what was so great about it, you can’t do it justice.

Even if it’s a film that will challenge any viewer, it benefits from a strong premise, a story line that more or less holds up, and three knockout performances. Rarely has the acting process been explored in such a cinematically provocative way.

This is a clever comedy about working-class women, and a sly, entertaining commentary on the insidious effects of gender inequality.

Hunnam makes a strong impression as a tough guy in the title role, but there’s something about either him or the filmmaking or the subject matter that allows viewers to resist making his problems our problems.

The movie might work better if the psychological puzzle tucked inside it were more engaging or surprising. But as the pieces fall into place, in a clunky resolution, the story turns as flat as the screens that contain it.

It would be wrong to say Close’s performance in The Wife is wasted, but it certainly deserves a better movie.

Unfortunately, it’s not much of a movie. The best thing “Happytime” has going for it is shock value, and that wears away after about 10 minutes. It doesn’t have an interesting story, and the jokes fall flat.

Adapted from Justin Torres’ debut novel from 2011, Zagar’s bravura direction, with a visual style by cinematographer Zak Mulligan, is lyrical and poetic in an approach that would suggest Terence Malick, complete with wistful narration by the film’s young protagonist.

The movies have been heading toward this for a while, and now with Mile 22 we get a film that is almost wall-to-wall violence. There is very little talk, and what little talk there is is entirely confrontational. People are either cursing at each other, threatening each other or killing each other.

From time to time, there are the requisite cutesy boy-and-his-wolf moments, but for the most part, the film is harrowing, suspenseful and gritty — and a perfect vehicle for impressive 3-D effects that bring to life an exquisitely beautiful but unforgiving land.

As Hunt’s life unravels, so does the movie, though the story maintains a certain baseline of interest just by virtue of being sordid.

The end result is flawed, but also funny, heartfelt and inclusive movie making.

Spike Lee is relevant again. He's necessary again.

Clearly, this is not a film for everyone, but even though the routine gets highly repetitious, some of the heavy metal numbers are stirring.

Wondering what’s real and what’s just a carefully crafted crock doesn’t make Scotty and the Secret History of Hollywood a better experience. It makes it a little pointless and frustrating.

Fortunately, some of the people around Cameron turn out to be more interesting. The best in show is John Gallagher Jr., who brings out both the creepy and comforting sides of “ex-gay” instructor Rick — a seemingly nice guy who’s oblivious to the harm that he’s inflicting on his charges.

Happiness might remain elusive in Nico’s last years, but after years of loneliness and fading fame, at least she can catch a glimpse from time to time.

It’s a tired, inert sci-fi thriller featuring a succession of escalating action sequences that all, somehow, fail to ignite. The cliches mount.