Hawke takes a fairly one-dimensional character and gives it an intelligent and shaded performance.

I’m still not entirely sure what it all adds up to, but it is provocative, difficult and bleak and leaves you with a very precise feeling of despair and aloneness — just like the best of the space independents do.

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.

It’s not plot deviations from King’s novel that hamper Pet Sematary. It’s that, from early on, Kölsch and Widmyer, rely less on the detailed accumulation of atmosphere that King built his tale on, than jump cuts and music cues to build suspense. It puts Pet Sematary on a more familiar genre track.

Part of the fun of Amazing Grace is watching not just those in the thrall of Franklin (Mick Jagger can be seen bopping in the back of the church) but witnessing the awe Franklin evokes.

A bizarre and transfixing carnival of vulgarity and vice.

Burton’s Dumbo, while inevitably lacking much of the magic of the original, has charms and melancholies of its own, starting, naturally, with the elephant in the room. Of all the CGI make-overs, this Dumbo is the most textured, sweetest and most soulful of creatures.

The film often feels in many ways as an attempt to correct history, or at least the previous Dunaway-Beatty-led portrayal of a bumbling Hamer. But there are moments of beautiful stillness and nicely-filmed sequences — like a nifty car chase in dust clouds — that make the hunt enjoyable.

Nitpicks aside, Shazam! is just a lightning bolt of unexpected joy that is certainly worth your time and money.

In Us, Peele has produced a terrifying artifact: a sinister ballet of doppelgangers and inversions that makes flesh the unseen underbelly lurking beneath every sunny American dream and behind every contented nuclear family. It’s a scissor-sharp rebuke to anyone who’s ever held hands and sang “Kumbaya.”

Wonder Park has a great premise about a spunky kid engineer and a world she constructs taking flight, but takes a few too many dark loop-de-loops and crashes hard. If you pass this amusement park, skip it.

But Clermont-Tonnerre has established herself as a filmmaker to watch with The Mustang, and has also made the most compelling case yet that Schoenaerts can not only handle an American accent, but excel with it too.

Triple Frontier has the good sense to take a macho, Expendables-like set-up and turn it inward. It just doesn’t go far enough.

Gloria Bell isn’t a dour midlife character study but a warmly affectionate one, in large part due to Moore’s radiant, lived-in performance as a woman committed to self-renewal.

I spent over two hours with Captain Marvel/Carol Danvers and I still have no idea what her personality is. Sure, there’s a lot more going on in Captain Marvel, but it’s a pretty egregious failing considering that the creative bigwigs at Marvel had 10 years and 20 films to work it out.

Apollo 11 might not tell you anything you don’t already know about the moon landing. But it will make you feel it, and see it, anew.

Huppert seems to be enjoying herself fully leaning into Greta’s insanity, so perhaps this one can get a pass. She helps elevate the film from its self-consciously B-movie roots to be something that’s actually pretty good.

The Wedding Guest might not completely work as a thriller or a satisfying romance, but for anyone missing India or planning to go, it’s a film worth getting lost in.

Written and directed by series veteran Dean DeBlois, “The Hidden World” may not overwhelm in its necessity.... There are two compelling parts of “The Hidden World” that validate it.

High Flying Bird is a heady movie, full of political thought about sport, entertainment, race and power. Rather than float on production value, it sustains itself on the tension of ideas, exchanged rapid-fire in gleaming office towers.

Isn’t It Romantic stays pretty surface level, which makes for a fine and pleasurable viewing experience, but doesn’t exactly do anything to show that rom-coms would be better if the best friends had more of an inner life, for example. In fact, it just kind of redeems the formula in some ways.

Pugh never looks quite at ease in the ring in Fighting With My Family, but her performance is so layered with ambition and self-doubt that the film exceeds its familiar framework.

The final moments are unexpected, and perhaps frustrating. But the title comes back to you. This film may leave you exhausted but also somewhat dazzled. It’s best not to look away.

The film crams in so many plot lines that it risks being overstuffed but somehow stays true to its mesmerizing vision and emerges as a sci-fi success, if not a triumph.

By the end of this film — perhaps not Farhadi’s most piercing work but surely a polished, textured, and very engaging effort — you’ll look at the final two faces on the screen as they sit down to talk, and will likely still be asking yourself: Did everybody know?

Henson does as best she can with this material, attempting Lucille Ball-level physical comedy. But she’s laboring and often overshadowed by the one unpredictable spark in the film — provided by Erykah Badu.

Velvet Buzzsaw doesn’t lead anywhere inward; it becomes just a litany of (exquisite) death scenes for art-world caricatures. Still, what caricatures they are.

Rodriguez and her fans deserve better than Miss Bala, a disappointingly bland and formulaic Hollywood remake of a much grittier and bleaker Mexican thriller.