Once you’re on its wavelength, the film is a mesmerizing experience.

Cinema often shines a light on stories that might have been lost to history, and that’s certainly true of A United Kingdom.

Nothing in the film is particularly memorable either, including the music that changes Bodi’s life.

The film is perhaps best appreciated as a showcase for the gifted Simonischek, whose portrayal of Winfried/Toni is one for the ages.

The film offers insights into Iranian society while also subtly making a case that human foibles are universal.

Reeves is thoroughly persuasive as a killer who takes pride in his expertise. The role he began with 2014’s “John Wick” is tailor-made for his laconic acting style.

Michael Keaton and Christian Bale are the best. George Clooney and Ben Affleck are among the worst. But Will Arnett is by far the funniest.

Working from a lackluster screenplay by a squad of writers, director Taylor Hackford (“Ray”) delivers a film so low in energy that it’s almost as if it was made to assist airline passengers in falling asleep.

Brilliantly blending archival material, including clips of Baldwin on television and in public appearances, with narration by Samuel L. Jackson, Peck makes intriguing connections between the 20th century civil rights movement and the contemporary activism of Black Lives Matter.

Suarez and Ugarte complement each other beautifully, lending Julieta a multidimensional gravitas. And Grandinetti is fine as a man who has no choice but to go with her flow.

Inspired by a true story, Gold is a major disappointment — a film of admirable ambition but woefully underwhelming execution.

Anyone who has ever loved or said goodbye to a pet will be able to relate to this heartfelt story, adapted by Cathryn Michon from a best-selling novel by W. Bruce Cameron. Director Lasse Hallström uses real animals and limited CGI, so the actors’ interactions with the pets are believable.

20th Century Women doesn’t have much of a plot — if it has one at all. But the film beautifully evokes the era just before Ronald Reagan entered the Oval Office.

Not just another biopic, The Founder is a morality tale that raises provocative questions about consumer culture, its benefits and its consequences. You won’t look at a Big Mac the same way again.

This may not be Scorsese’s best film, but it’s unquestionably his most impassioned.

Far from being exploitative, Patriots Day honors the Bostonians who responded to terrorism with strength.

Still, it’s worth seeing for Affleck’s charismatic performance and for its vision of America as a land of greed, violence and political expediency that some moviegoers will find all too familiar.

It’s a perfect vehicle for Driver, who endearingly captures the hangdog humility of his character. It’s a portrayal that might encourage more people to write poetry. And as the quirky but cheerful Laura, Farahani is just right.

A Monster Calls is the rare film that addresses the mysteries of childhood without succumbing to schmaltz.

Hidden Figures is an admirable attempt to dramatize an overlooked aspect of American history. Working from a screenplay that he co-wrote with Allison Schroeder, director Theodore Melfi (“St. Vincent”) delivers a crowd-pleasing film that often resembles a sitcom but frankly addresses the social inequities of the period.

One of the best films of the year.

Fences is perhaps best appreciated as a showcase for the brilliant acting of Washington and Davis.

Director Garth Davis gets to the heart of the drama without slipping into sentimentality.

Sing is like a medley of pop hits. You get a bunch of quick samples but long for the full song.

The film eventually runs out of rocket fuel, piling on the special effects but arriving at a disappointing conclusion.

Portman is simply brilliant, getting to the essence of Jackie without resorting to a mere impersonation.

Collateral Beauty is based on a premise so preposterous that the film shouldn’t work. But the illusion of credibility is sustained just well enough to keep things from falling apart.

Gosling is terrific as the coolly introspective yet disarmingly charming Sebastian. And Stone is deservedly generating Oscar buzz for her portrayal of an artist who can’t quite believe she’ll ever be anything other than a barista.