As unkempt and overwrought as “Die, My Love” is, it’s not a movie that’s timidly weighing in on parenting and gender roles. There’s plenty to admire in Ramsay’s uncompromising and delirious portrait of marital hell, particularly in the bracingly raw performance of Lawrence.

Luckily, The Mauritanian, directed by Kevin Macdonald, gets one thing very right: Tahar Rahim’s masterful central performance. The French actor achieves something his big-name costars — Jodie Foster, Benedict Cumberbatch and Shailene Woodley — do not, presenting a multi-layered, subtly shaded and deeply moving portrayal that proves hard to forget.

Stone is always compelling, and with an ace nemesis in Thompson, she’s having a blast.

Drop, a silly but suspenseful new thriller, carries on the tradition of “When a Stranger Calls” and “Phone Booth” by situating its tension around mysterious, threatening phone messages.

Empire of Light may be a love letter to the movies, but it’s a sad one in which one of the parties, the local, independent movie theater, is fading away and possibly already gone.

The film nicely sends up spy capers, Broadway and buddy movies and is a lot like its two leading characters: Kindly, a little silly and as sweet as a candy-colored drink at the pool bar.

With some notable exceptions, this is a traditional treatment of an extraordinary life, complete with deathbed scenes that bookend the film and frequent lines, in Jack Thorne’s screenplay, in which Curie single-mindedly speaks of scientific progress less like a person than a grade-school teaching tool.

It might not be as novel as the first, but it’s essentially harmless, if a little chaotic, fun for kids and doesn’t need to be anything more than that.

Much of F9 is kind of a slog. There are some not very dynamic car chases, a lot of flashbacks, ho-hum villains and an oddly prominent role for magnets. But when Taj and Roman reach zero gravity, the movie finally takes flight with goofy grandeur.

It is fun and wild at times, and Gomez fully commits to the bit of this woman who is being gaslit into insanity. But she and the film crescendo into absurdity, with little in the way of relief or catharsis.

Highest 2 Lowest may not reach the heights of some of Lee’s best films, but it’s the kind of film that makes you hope Lee and Washington have more to make together.

Opening on the heels of raging wildfires, Elemental manages to be a movie about fire and water without even a passing reference to today’s climate realities. Missed opportunities abound.

There are dull moments and off-putting tangents that seem to exist only to provoke, but the message at its core is a nice one about connection and empathy and occasionally uncomfortable intergenerational conversations that don’t end with someone being silenced.

The pleasures of Uncorked are in how it gently eludes stereotype and brings a rich sense of texture to even its smaller moments.

While it might not knock it out of the park, Edge of the World is still a very solid watch if a little slow-going and might also just inspire you to revisit some of the classics its indebted to which is its own small triumph.

Some people hate horror films of any kind. They’re not the intended audience here. But for those who don’t, or are mixed, it’s true: You may watch “Final Destination Bloodlines” through fingers covering your face. But chances are high you’ll be smiling, too.

Saving the showstopper for last will certainly leave audiences exiting the theater on a happy high note. But it’s hard to shake the feeling that in attempting to tie everything together, “Mission: Impossible” lost the plot.

Lawrence’s novel may have been shocking when it was published — most famously, it was the subject of a major obscenity trial in Britain — but it is not shocking now, no matter how frank the sex scenes. So any adaptation needs more to distinguish it than heaving bodies, however attractive.

What makes Annabelle Comes Home rise above its well-trod narrative are the actresses and Dauberman’s sensitive attention to each of them.

Rae and Nanjiani make the ride fun enough with their easy chemistry and silly, wide-eyed panic at everything they’re witnessing. Still, The Lovebirds lacks the singularity of its stars’ other noteworthy roles.

Like its characters, it’s drunk on what came before, relying too heavily on noir tropes. But its smart, thought-provoking concept isn’t so easy to shake off.

And in spite of the absurdity, it is stupidly watchable. If you don’t know or remember the details of what went down, save the search for after. Just wear your gaudiest designer logo, order a martini at the bar and give in to the easy pleasures of House of Gucci.

Does all this work? Well, it depends on how you feel about ... Cats. Did you love the show? You’ll find stuff to love here. Did you hate it? Ditto! Or maybe ... you’ll have both reactions? That’s possible too.

Vice is frenetic and fun, flippant and frustrating.

The original screenplay by Stanley Weiser (based on a story by Weiser and Lasker) offers intriguing situations, and Jonathan Kaplan's direction hurries the action along. Perhaps because he has covered the same territory before, Broderick's performance is surprisingly flat. Helen Hunt fares better, especially in her scenes with Willie. [18 June 1987]

Taking each storyline at a time, all accompanied by flashbacks, gives each character some depth, even as the crowded film — at nearly three-hours long — verges on turning into a clown car. That sheer much-ness is in the spirit of King’s massive book. “Chapter Two” is, for better or worse, a horror carnival.

While it might not be on the same level as Bridge of Spies, it’s solid, well-acted and enjoyable nonetheless.

While much of Bissell’s film is poignantly rendered, especially the spirited lead performances by Taraji P. Henson and Sam Rockwell, it has its flaws and its omissions.