Hard Truths runs just 97 minutes, but it’s the kind of film and character that will stay with you long after — especially and most importantly when you find yourself having a Pansy kind of day.

A Complete Unknown is utterly fascinating, capturing a moment in time when songs had weight, when they could move the culture — even if the singer who made them was as puzzling as a rolling stone.

Morrison is a celebrated cinematographer known for “Black Panther,” “Fruitvale Station” and “Mudbound,” making her feature debut as a director. And it’s a promising one, full of beautiful shots, unexpected choices and rousing fights inside the ring, anchored by a thoughtful, engaging script and compelling lead performances.

Babygirl, which Reijn also wrote, is sometimes a bit much. (In one scene, Samuel feeds Romy saucers of milk while George Michael’s “Father Figure” blares.) But its two lead actors are never anything but completely magnetic.

Bring your hand warmers, toe warmers, heart warmers and soul warmers — this update of the 1922 silent vampire classic will chill you to the bone...But it may not terrify you. Everything in Robert Eggers’ faithful, even adoring remake, from his picturesque 19th century German town to those bleak mountain snowscapes leading to that (brrr) imposing castle in Transylvania, looks great. But with its stylized, often stilted dialogue and overly dramatic storytelling, it feels more like everyone is living in a quaint period painting rather than a world populated by real humans (and, well, vampires) made of flesh and, er, blood.

Though not for everyone, it’s a film that can justifiably be described as “epic” in ambition and design. And, wouldn’t you know, ambition and design are precisely what the movie’s about.

What absolutely, undoubtedly does work is Moore and Swinton together. If some of the more melodramatic or crime-movie flourishes feel forced, the central relationship of “The Room Next Door” is consistently provocative.

Mufasa: The Lion King has one very important thing going for it: an original story.

The threads do come together, but it requires a bit of patience and giving yourself over to the film, which is both formally and emotionally eye-opening. Adapting great literature can sometimes send filmmakers running towards the conventional; Thank goodness Ross charted his own path instead.

The film looks of its time, but it also feels fairly modern in its sensibilities which makes it always seem more like a re-telling than an in-the-moment experience. This may be to its detriment, yet it’s still an undeniably riveting and compelling watch.

Kraven the Hunter can climb sheer walls like a gorilla, snatch fish out of streams like a bear and outrun deer. But there’s something this slab of human beef can’t do: Anchor a decent movie.

The film, set 183 years before the events of “The Hobbit,” is a return to Middle-earth that, despite some very earnest storytelling, never supplies much of an answer as to why, exactly, it exists.

Of all the post-apocalyptic landscapes we’ve been treated to over the years, none is as beautiful nor peaceful as that of “Flow.”

Somewhow Adams, who also produces here, makes these things seem, if not quite natural, then logical.

You’d have to be a certain kind of grinch not to get swept up in the hurdles and triumphs, especially with such a compelling lead performance from Jharrel Jerome. And yet for a story about a guy who shattered expectations, the film itself is rather conventional.

Is it all a little much? Of course, but that’s kind of the point of Maria.

Queer is best when it’s a character study of Lee, who in Craig’s hands is charming, selfish, arrogant, abrasive, foppish and sometimes unable to read a room. It’s a million miles from 007, even if Lee carries a pistol.

Only a few times does the banter between Moana and Maui really remind you of the fun that characterized the original.

Joy is not all joy. There is frustration and loss and tears along the way, but it is a triumphant film about the way humans can make the world better and how a baby’s cry can be a priceless gift.

If people breaking into song delights rather than flummoxes you, if elaborate dance numbers in village squares and fantastical nightclubs and emerald-hued cities make perfect sense to you, and especially if you already love “Wicked,” well then, you will likely love this film. If it feels like they made the best “Wicked” movie money could buy — well, it’s because they kinda did.

The film is a reminder of the transcendent power of cinema, even, and perhaps especially, when not all that much is happening.

Red One comes off a little like the holiday version of “Cowboys and Aliens” — enough so to make you nostalgic for leaner tales about folkloric figures starring Johnson, like “The Tooth Fairy.”

Gladiator II isn’t quite the prestige film the first one, a best-picture winner, was in 2001. It’s more a swaggering, sword-and-sandal epic that prizes the need to entertain above all else.

Regardless of your familiarity with Wilson’s Pittsburgh Cycle, “The Piano Lesson” is a worthwhile, captivating and moving watch full of charismatic performers.

Bird may go down as a rare miss for Arnold but you can still see the keenness of her eye and the nimbleness of her camera, with her regular cinematographer Robbie Ryan. And that’s true never so much as when the camera is on Adams, a talent, whose melancholy eyes say more than all the theatrics around her.

So beautifully constructed and acted in the first half is “Heretic” that you won’t really notice when it turns into a horror movie.

It’s quite a journey for one film. All credit to Eisenberg, and his superb co-star, for making the road trip so thought-provoking.

Blitz feels stuck between a conventional war drama and something more adventurous and probing. It doesn’t coalesce the way McQueen’s best work does, but the frictions that drive Blitz make it a singular and sporadically moving experience.