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.

It’s pretty amazing just how compelling this is for being so simple, but it allows the viewer to really get wrapped up in the minutiae of it all: The performance, the landscape, the minor triumphs and major setbacks.

I’m not sure just how much more the studio can mine out of this concept that was once so brilliant. But happily, The LEGO Movie 2 doesn’t destroy everything the first worked so hard to build. It’s just trying very hard to be exactly the same.

A surprisingly delightful film full of action, heart, a crazy-haired Patrick Stewart (as “old” Merlin) and a few genuinely good gags.

While it might not be a conventional history lesson, it is a necessary and utterly urgent one.

For all the hype behind these three characters meeting, and the years it took to get it off the ground, Glass is one big anti-climax.

Although it might be a stretch to categorize this as a movie, A Dog’s Way Home is harmless enough and a nice little adventure that’s fit for the whole family. But you might want to have the tissues ready.

Few films in memory have squandered so much acting talent in such a cliche-ridden, exploitative and dishonest way.

The filmmakers haven’t gone so far as to put you in the game, too. A lot of it is watching all the characters find keys and have their own revelations, so by the time you get to the fifth room, it’s understandable if interest is starting to wane a bit even with the addition of a link between the six people.

While Destroyer can be overwrought and mechanical, it’s an often gripping, well-crafted crime drama with distinction of its own in the genre, an almost always male-dominated one.

It is simply terrific — an understated but smartly told crowd-pleaser about the legendary comedy duo in their last act, with wonderful production value, a sharp and surprisingly poignant script and brilliant performances from John C. Reilly, as Oliver Hardy, and Steve Coogan, as Stan Laurel.

Brooklyn is a story for anyone who has ever left home. It’s a story for those who’ve waffled in indecision, for those forming their identities and forging their own paths. It’s a story awash in muted pastel nostalgia about family and love and ambition and heritage and goodbyes. And it’s one of the loveliest films to grace cinemas this year.

Jones is truly marvelous in the role, showing Ginsburg’s burning desire to change societal unfairness and also, more intimately, coming to terms with her own daughter’s rebelliousness.

As The Mule ambles toward its conclusion, it draws closer to Stone, and maybe to Eastwood’s legacy, too.