On Swift Horses belongs in the same category as other hushed ’50s-set same-sex romances, like Todd Haynes’ “Carol” or Luca Guadagnino’s “Queer.” But this adaptation hasn’t made the leap to the screen very well. Sometimes swift horses stumble.

The Legend of Ochi, a scrappy and darkly whimsical fable about a misunderstood teenage girl on a dangerous quest, has the feeling of a film you might have stumbled on and loved as a kid. Something tactile, something fantastical and, maybe, something a little dangerous — the kind of movie you knew you probably weren’t supposed to be seeing just yet.

For a movie about a detail obsessive, it’s curiously messy. But — and this might matter more — the film has a reasonably firm sense of just how serious and how knowingly silly a movie about an uber-talented accountant ought to be.

How Coogler pulls everything off at once — and makes it cohere, mostly — is a sight to see.

You can also excuse a lot in a film that was clearly made with its heart in the right place and a deep love for all its characters, even in their messiest, most unsympathetic moments.

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.

The Amateur has a lot going for it -- but it takes also takes a while to get going. Once it does, it can’t quite maintain a level of energy and suspense needed to justify its runtime.

In this forensic portrait of war, the only way to not get what’s happening on the ground is to be too far from it. François Truffaut famously said there’s no such thing as an anti-war film because movies inherently glamorize war. “Warfare,” though, is intent on challenging that old adage.

The Friend stretches on a bit too long, but it’s done with such care and a kind heart that it’s not hard to give it two hours of your time.

What’s never quite fleshed out here is why this all should resonate with us — or how these haphazard moments, albeit compelling, weave together in the cohesive way the filmmakers seem to promise.

The Jared Hess-directed action-adventure artfully straddles the line between delighting preteen gamers and keeping their parents awake.

The Ballad of Wallis Island is the kind movie that makes it all look so easy — filmmaking, performance, mood, chemistry. It’s not going to dominate any cultural conversations, and probably won’t go the awards route, but it’ll touch your soul if you let it.

A Working Man is exactly what you expect when you unleash Statham on a noble mission.

While “Magazine Dreams” is an interesting character study, one many actors would love to play for all its dramatic opportunities, it also seems crafted entirely to provoke and shock — especially in the almost unbearably bleak final hour.

Presumably one of the reasons to bring actors into remakes of animated classics would be to add a warm-blooded pulse to these characters. Zegler manages that, but everyone else in “Snow White” — mortal or CGI — is as stiff as could be.

The Alto Knights, despite its pedigree, doesn’t rise anywhere near the heights of its glorious predecessors. It is, rather, an enjoyable if choppily paced look at a relationship between two men, where unfortunately we’re arriving pretty late in the game.

Black Bag follows a run of agilely directed thrillers by Soderbergh made with screenwriter David Koepp. They are both at the height of their almost-too-easy powers; the script, especially, is peppered with delectable dialogue.

If an algorithm designed a classic, big-screen spectacle for the small-screen age, “The Electric State” probably wouldn’t be too far off the mark.

Novocaine also kind of overstays its welcome, stretching on too long with too many endings. Still, it’s an easy, if not entirely painless, watch.

Green wobbles as he tries to land this plane and what had been an intriguing premise to talk about fame and the parasitic industries that live off it turns into a gross-out, run-for-it bloodfest and a plot that unravels. It becomes what it intended to satirize — a pop spectacle.

To call this a field of dreams would be pushing it. But it’s a lovely way to pass some time.

In an extremely physical, committed, even exhausting performance, Pattinson takes what could have been an unwieldy mess and makes it much less, well, expendable.

Nyoni and her cinematographer David Gallego make this a transportive, stylish and unforgettable experience that powerfully transcends the specifics of its setting, while also taking audiences into an culture that’s likely unfamiliar.

It feels strange to want a movie to be longer, but in the case of Last Breath I was both desperate for it to end, for anxiety reasons, and also wanting more.

The movie’s earnestness carries it through these less smooth moments. So does the cast. Any opportunity to see Freeman or Harris, still at the top of their games, is a chance to be treasured.

Not all of it works, but it’s never uninteresting or uncreative — especially when it comes to finding inventively horrible (or horribly inventive) ways for people to die.

Old Guy feels very of this moment in the fact that it looks good and has a good cast and yet can’t seem to deliver something that’s either entertaining or meaningful. But unlike so many of its peers, this one amazingly was not made by a streamer.

Rankin’s film, his second following the also surreal “Twentieth Century” (2019), is propelled less by narrative thrust than the abiding oddity of its basic construction, and the movie’s slavish devotion to seeing it through without a wink.