The film allows Witherspoon and Kutcher to show off their naturally funny sides, especially when they’re fishes out of water. But many of the scenes drag on and sometimes the exposition is chalky.

Parallels to “My Best Friend’s Wedding” come early and often.

If there is a quibble, it’s that Hayek and Tatum don’t quite inspire the will-they-won’t-they tension that the movie seems to be asking of them. They work well together when they’re working together, but the romantic chemistry is a bit lacking.

A slinky, slick caper that finds ways to distort expectations while unfolding a puzzle-box narrative.

Shyamalan doesn’t pump up the violence, nor does he rely on plot twists to carry Knock at the Cabin along. Instead, the film works as a brutal, neatly distilled kind of morality play that toys with fatalism, family and climate change allegory.

Director Kyle Marvin fails to build any real tension as he frighteningly shifts from farce to cringe to melancholy, but real footage of the big game is nicely knitted into the second half.

[Anderson] is still that open book, disarmingly funny and candid and uncynical, sitting there beautifully makeup free, letting the filmmakers and audience peer into her soul through many pages of journals going back to her childhood. It is a captivating watch, especially for those who never thought much about her at all.

Close is a crushing story of grief told with grace by Belgian director Lukas Dhont.

All the charm and style in the world, and J.Lo has more than anyone, can’t make up for the bizarre tonal imbalance of “Shotgun Wedding,” a movie too violent to be funny and too funny (in the odd, weird sense) to be fun.

There’s a wistful, warm feeling when wandering into a Hansen-Løve film. Hers are delicate dramas keenly tuned to the rhythm of daily life, and “One Fine Morning” is her most radiant film yet.

Hill and “black-ish” creator Kenya Barris have written a rom-com with teeth, a film not afraid to air long-simmering cultural grievances.

Alice, Darling is a little thinly sketched and lacks a strong sense of directorial perspective. But, in shirking genre contrivance, Nighy gets the most essential thing right, authentically capturing a not-uncommon real-life experience with rare nuance.

Eisenberg, who has already proven himself to be a talented, unsparing writer, shows promise as a director. He has not made a flashy art film, but it’s a smart, biting and occasionally sweet character piece about unlikable characters that you still may want to root for, because, though it may be hard to admit, they’re not so different from us.

Missing, building off the related film “Searching” from 2018, manages to make a film about small screens feel electric on a big one.

This party isn’t worth a trip much further than living room.

Most crucially, it’s a film so original in approach that one feels only Diop could have made or even conceived of it.

Plane is as broadly sketched as its title. Puerto Rico doubles here for Philippines, and most of the story elements, too, feel like they’re stand-ins for basic plot conventions.

A Man Called Otto is less after realism than it is a modern-day fable, with shades of Scrooge and the Grinch. As a tale of a solitary man, Hanks has made it a poignant work of family.

Broker is definitely a slow burn that can feel a bit repetitive at times, though the introduction of Hae-jin (Im Seung-soo) as an 8-year-old orphan with Premier League dreams helps get the film over a meandering hump.

Turn Every Page...is one of the finest films you’ll see about the craft of editing — not that there are so many of those.

There’s a stale emptiness to Living that doesn’t entirely dissipate in even its most moving scenes.

The film has a few odd jumps and seemingly comes to a fiery conclusion — finally some warmth, good God — but it’s a false ending. A much better one awaits, one that’s unexpected and very, very satisfying. Stay to the end — as long as you’re bundled up.

The destination may be startling but, thanks to a magnetic star turn from Krieps, the voyage is never boring.

Ackie’s performance is something to be cheered, reaching for the the kind of authenticity that Andra Day channeled when she also tackled a doomed musical icon in “The United States vs. Billie Holiday.” But so much clumsiness, scenes featuring unnaturally heightened drama with little insight and the compromised authenticity of the performances drag I Wanna Dance With Somebody down — ultimately, it’s not right but it’s just OK.

Though it may be a chaotic shamble, Chazelle’s film makes this one point brilliantly clear: Cinema will be tamed for only so long; the parade will go on.

Women Talking is not melodramatic or desperate or exploitative. It is astute and urgent and may just help those previously unable to find words or even coherent feelings for their own traumatic experiences. And hopefully it might just inspire more works of wild female imagination.

Directed by Joel Crawford, with Januel Mercardo as co-director, Puss in Boots: The Last Wish has enough good jokes (script by Paul Fisher and story by Tommy Swerdlow and Tom Wheeler) to keep anyone amused for an afternoon at the movies.

There is something comforting about the fact that we are capable of intense, collective cultural whiplash. That “who cares?” can turn to uncynical amazement in an instant. Is that the magic of the movies? Of continuing to push the bounds of the big screen experience? Of betting big on weird-sounding stories about giant blue environmentalists instead of superheroes every so often? Maybe it’s just the magic of James Cameron.