Ultimately, Whose Streets? is timely not only because of its social message, but also because it fully embraces the cell phone footage and tweets that have been crucial tools in the Black Lives Matter and other movements.

There are “gotcha” jolts that definitely got me, but for each of those, there must be a half-dozen scares telegraphed in very large letters. I think Annabelle: Creation is suffering from sequelitis.

Still the spectacle of this, of beautiful, sensitive children at the mercy of damaged adults — this is what we take from The Glass Castle. It’s a universal awfulness rendered with truth and detail, and somehow that’s enough.

Actually, there is one other thing that’s unforgivable. After building up to the great climactic confrontation for two-thirds of the movie, it’s a letdown.

This is a film that keeps it simple: Don’t cross a mother, or she’ll hunt you down.

It’s a lot to cover in 83 minutes, and you might wish for a little more depth in the girls’ back stories. Then again, the brisk pace is part of what makes the movie a crowdpleaser.

It’s imaginative and even brilliant at times, and then it starts to cave in. But then we think no, maybe not, maybe everything’s going to be made right . . . until it collapses completely. A cynical, smart movie about the dangers of mass culture gives way to a sentimental embrace of the very thing it’s criticizing.

The unsure approach to rich material (based on a story about a newspaper’s homophobic coverage of a drowned man) mixes the sexy and grotesque — and cancels each other’s good parts out.

In this case, the Big Apple has never looked so small and inconsequential.

It’s giving away nothing to say that the answers here are a mix of good news and bad news.

Detroit is a movie that will make you angry. It is designed to make you angry, and it does nothing to soften the blow or create some artificial uplift. But there is something about honesty that’s exhilarating. Detroit is tough, but it’s worth it, every minute of it.

It’s a mix of comedy that isn’t especially funny — offering something more like general high spirits, rather than laughs — and drama that isn’t really dramatic, except to the people on screen.

A mostly fabulous, though thinly plotted, ode to the glories of hand-to-hand combat, Euro ’80s music and the good/bad old days of the Cold War.

A lot of talented people with the best of intentions got together and made The Last Face, and yet it’s an almost unwatchable flop.

If you want to fall in love with Catherine Deneuve, don’t start with her youth. Start with her here, in her 70s, and then work your way back.

The more an audience member sees the beauty left in the Buddhist leader’s wake, the more it becomes clear that his influence has the power to continue generations beyond his passing.

A curiously downbeat, rather cold work without much passion or science that portrays a woman whose life was brimming with both.

Mainly for those who already know and like Jodorowsky’s work.

Girls Trip balances sincere sentiment and boisterous comedy with honesty and skill, and for people who like their comedy a little nasty, this one’s a blast.

This is a likable documentary that casts light on two respected but relatively unknown people, who made major contributions to film and managed to have a normal life — and in Hollywood, of all places. It’s nice to know such things are possible.

A movie for science fiction fans who wish every minute of “Star Wars” was the cantina scene.

Barely 20 years old at the time of filming, Pugh has a surface poise and an inner turbulence, a capacity to command the screen with the spectacle of her watching and thinking. The last time something like Pugh happened, she was called Kate Winslet, and the movie was “Heavenly Creatures.”

It’s one of the best war films ever made, distinct in its look, in its approach and in the effect it has on viewers. There are movies — they are rare — that lift you out of your present circumstances and immerse you so fully in another experience that you watch in a state of jaw-dropped awe. Dunkirk is that kind of movie.

David Lowery has made a movie that is as outside the pattern of our current popular filmmaking as can be possibly imagined. That takes more than vision alone. It takes courage.

This isn’t close to being a great movie. But if you don’t overthink it, there is some fun to be had in the grisly consequences.

A meandering, slow journey with a fairly bland leading character. Director Kirsten Tan, who is from Singapore and based in New York, must be admired for the audacity of casting an elephant as a co-star in her feature film debut.

The music links it all together, creating the sense of some overarching, unseen logic connecting all human activity and making everything inevitable. Indeed, it’s that last impression that elevates Dawson City: Frozen Time to the level of poetry. The story of the town is interesting, without being scintillating.

This is formidable filmmaking, and Heineman has become one of our most daring, and interesting, documentarians.