Unsane is Soderbergh in his best mode. As in “Haywire” and “Side Effects,” he takes what easily might have been a lowbrow genre entry and realizes it so completely that he turns it into something extraordinary.

Movies go bad in all kinds of ways, but in 7 Days in Entebbe the filmmakers found a brand-new way for their movie to commit suicide.

Story problems tank the new Tomb Raider — small, essential things like lack of motivation, lack of reasons for people to do the things they do, and lack of any reason for the audience to keep watching.

It’s a testament to the skill of first-time feature director Atsuko Hirayanagi that these wild mood swings can co-exist without blowing the movie apart.

Foxtrot troubles and fascinates as it shifts from a portrait of grief to one of pathology, and captivates after it shifts again, into a visually driven, borderline absurd look at military life.

Greg Berlanti’s movie about a teenager’s coming out is nothing if not sincere. More to the point, it’s not very much except sincere.

Still, I’m not sure Kiarostami really intended this film to be a movie. It seems more like an art installation. Of note is the terrific sound design; the sound is credited to Ensieh Maleki, who captures full, rich, peaceful sounds of nature.

A unique and hilarious British comedy.

Mostly it serves as a comprehensive manual of bad places to hide from a masked killer.

The pleasures of Gringo are the pleasures of genre: It’s a fun type of movie, but it’s not a good version of the type.

Credit Freyne for ambition — he’s trying to make a zombie movie with a certain amount of discretion, and evoke sympathy for at least some of those who’ve perpetrated unspeakable actions. But he’s juggling too many themes here, and manages to lose us somewhere along the way.

Submission is not a bad film — it just feels like an early draft.

Leaning Into the Wind asks us to appreciate art for art’s sake, and that’s not a tough ask at all.

The unconventional Joseph Beuys, one of the pillars of the modern art movement, gets an unconventional tribute in Beuys, a zigzagging documentary that is both illuminating and opaque.

"Bombshell” tells the story of a triumphant and consequential life. And there’s more: Everybody interviewed on camera about her apparently really liked her, especially her children. That’s no small achievement.

There’s beauty here — Virzi is too humane to make a movie without beautiful moments. But a scattered eight or 10 minutes of splendor just isn’t worth an almost two-hour investment of time.

That story proves paper thin, and requires believing Amanda is devoid of empathy yet devoted to Lily — concepts too at odds to be plausible together.

It’s conscientious. It’s watchable, and it’s never less than competent. But it seems to strive so hard to be inspirational, rather than letting the inspiration come through the story, that it becomes preachy and self-conscious.

Death Wish is easily the second best “Death Wish” movie ever made, and not a distant second.

Red Sparrow is a thoroughly entertaining movie that stays fresh and interesting for all of its two-hours-plus running time. But what kicks it into a higher level is that it’s a terrific vehicle for Jennifer Lawrence, one of the few movie stars who deserves one, who is a film star in the classic sense.

Thinking people also like a little drama with their science fiction. On that score, Annihilation comes up short.

It’s not a movie that will make you tired, but lack of ambition can sometimes be a strength. This is a comedy-thriller made simply to please in the moment, and it does, for almost every minute of its 100-minute running time.

The performances are heavy-handed, except for that of Jon Hamm, who benefits not only from playing something of a wise guy (a sports memorabilia salesman), but also from his own unsentimental instincts.

A bleak, at times fascinating but strangely inert Chinese animated film.

Shot in a glossy, appealing black-and-white and filmed in a single location, The Party generates a pressure-cooker atmosphere.

This is a film that’s likely to stick with you because of its exceptional intensity. You may find yourself wondering, long after the credits roll, what on Earth is in store for Boris’ unborn child?

The pace is quick, very quick by American standards. The script blasts through reams of plot with lightning dialogue, and even if you have a fast eye for subtitles you may come to the end of the movie with no clear idea what happened.

An engaging, revelatory slice of life.