Just as the film’s near-sole setting — a remote mountain cabin beneath the peaks of northwestern Italy — beckons Pietro (Luca Marinelli) and Bruno (Alessandro Borghi) throughout their lives, the intoxicating atmosphere of The Eight Mountains is a cherished retreat I’m already eager to revisit.

Polite Society, the feature film debut of writer-director Manzoor, creator of the British sitcom “We Are Lady Parts,” is a fun and increasingly preposterous comedy. But it’s propelled by an infectious and genuine punk-rock energy. Make no mistake about it, the sisters of Polite Society are here to take down Pakistani tradition, the patriarchy and anything else you got.

Movies like these barely exist anymore, and certainly not in theaters. Tween girls would do well to seek Are You There God? It’s Me, Margaret out. It has all the makings of a classic for the next generation.

Cortés argues that Little Richard created the template for the rock icon and she’s got the receipts, tracing his musical and stylistic influences through everyone from the Beatles to David Bowie, Elton John and Lizzo. If there was a king, he was it.

In the end, Chevalier may be more fiction than history, but it’s worthwhile with effective acting, tension (helped by Kris Bowers’ score) and a decadently beautiful production.

Beau Is Afraid takes a long road — and one with a lot of yelling and sniveling along the way — to not get very far. That could, of course, be the point. But the simpering sad sack Beau — despite Phoenix’s typically committed and sympathetic performance — remains curiously void, stuck in a one-note nightmare.

Despite some satisfying moments, by the increasingly cringe-worthy last third of the movie you’re just annoyed that it seems to want to cover all bases — to have its, er, cannoli and eat it, too.

Renfield never lets Cage really sink his teeth into the movie, leaving us still hungry for more.

Showing Up may be a rallying cry to let artists just be artists — Reichardt is famously an artist in residence at Bard College, in large part to have health insurance — but she may have miscalculated how much compassion is generated by a supposed lover of beauty who is as cold and off-putting as her figurines.

Air coasts quite well on its compelling, funny and self-aware script (which even allows room for an amusing disagreement about who exactly came up with the name Air Jordan) and charismatic movie stars.

None of this is likely to be enough for anyone to exclaim “Oh, yeah!” while hopping up and down and doffing their cap. But it is an hour and a half’s worth of superlative marketing that will whet your appetite for more Mario back home on the couch.

Like its predecessor, Murder Mystery 2 is built on old-fashioned star power and the interplay between Sandler and Aniston. They’re good company to be in, and sometimes that’s enough.

How these two 20-somethings actually hook up is the subject of this sweet, down-to-earth, funny and thoughtful rom-com that shows two strangers moving though London and visibly falling in love over a matter of hours.

This is not a movie that will leave you feeling especially warm and fuzzy – it is often devastating. But it’s also bursting with hope for the future in this deeply human story of how one woman decided to devote her life to ensuring that her son’s would be brighter.

Dungeons & Dragons: Honor Among Thieves, hotly awaited by devotees of the decades-old role-playing game, makes darned sure to be fun, and funny — enough to laugh at itself. And that’s the thing that makes it work.

It’s the kind of comic, eminently British underdog story that Frears excels at. And with Sally Hawkins playing Langley as a woman undeterred by pompous academics and condescending naysayers, The Lost King makes for a charmingly droll tale of long-ago and not-so-long-ago reappraisal.

In the bleak, everyday struggles the Dardennes dramatize, they are always, thank god, keenly on the lookout for grace.

A Good Person seems to belong to a uniquely Dan Fogelman-esque subgenre of hyper sincere melodrama that sometimes clicks (“This Is Us”) and other times does not (“Life Itself”). Braff’s film is worlds better than “Life Itself,” but there are some similarities in how it strives for cosmic significance and ultimate tearjerking within a construct that the film tries to sell as authentically specific. In execution, it’s a bit more strained and contrived.

The fourth installment is more stylish, more elegant and more bonkers — kind of like Paris itself.

The sequel, again directed by David F. Sandberg, feels less breezily funny, less fresh, less fleet of foot.

Moving On is certainly not perfect, but it’s sincerely trying to be something more than your standard octogenarian farce. You might even be surprised by your own emotional investment in this rather trim film.

Despite the change of scenery, Scream VI is less a sequel and more a stutter-step, a half-movie with some very satisfying stabbings but no real progress or even movement. It’s like treading water in gore. And to fully enjoy this “sequel to the requel,” you need to have watched most of the others.

You needn’t have watched all five seasons of “Luther” to take a chance on Luther: The Fallen Sun. But there’s also a chance that you may find yourself wanting to afterwards.

It’s an odd paradox that this movie feels both high-minded and also at times frustratingly pedestrian.

While there is a case to be made for the final fight to, let’s just say, go a different way than it does, Creed III is still a knockout.

The filmmakers are also clearly trying their hand at satire, but ham-fistedly. Set during the Reagan-era “Just Say No” period, “Cocaine Bear” hopes to remark on the demonization of drugs and it also seems to have something to say about how humans misunderstand the balance of nature. Neither work.

Bairead’s sensitive and heartfelt film, which is debuting in many theaters Friday, is a stirring testament to what’s possible on a modest scale with a few well-chosen words.

Luckily we get to look long and and hard at this Emily, brought provocatively to life by O’Connor and her star. Strange or not, it’s hard to look away.