Jeremy Strong’s vicious portrayal of Roy Cohn will long be remembered alongside the finest of Hollywood’s eccentric baddies.

Conceptually staggering.

Despite a few bumpy moments, actor-director Noémie Merlant's gory feminist horror comedy paints a rowdy, richly imagined portrait of three ladies on fire.

Ullmann Tøndel deftly uses the claustrophobic setting to gradually unveil the layers of psychological chaos lurking beneath many respectable façades, particularly in the tightly constructed first half of the film, where the verbal and the visual coexist in a riveting harmony.

The cumulative effect of all this talent is a life-affirming blood-and-guts carnival of a movie that ranks highly among Audiard’s best, and boldest, work.

Re-shuffling footage from films he has shot over the last 23 years, Jia Zhang-ke places his awe-inspiring cinematic mastery on full display in Caught by the Tides, though its ravishing poetic beauty tends to obscure the story.

A movie that is neither Schrader’s best work nor his most scandalous.

The conflict is pretty obvious and the film’s naturalistic shooting style can’t take it to another symbolic level, so as drama, what you see is what you get.

Not every joke hits the target, and not every thematic tangent is fruitfully explored, but a stellar cast and lively pacing lend comic force to even the weaker lines.

This very modern brand of post-Warholioan digital fame is a much-debated cultural phenomenon, and Wild Diamond adds nothing especially new or insightful to the discourse. That said, Reidinger does display a rare degree of empathy and understanding towards young women who pursue this kind of tabloid celebrity.

Graced by a strong cast, visual poetry and great formal control, this brooding meditation on evil still resonates a century later.

In Bird Andrea Arnold once again shows she has the magic keys – in this case Franz Rogowski’s piercingly tender bird-man, and Barry Keoghan’s manically affectionate drug-dealer dad -- to extract drama, fantasy and authentic emotion from characters living on the lowest rungs of English society.

Drunk on its own noble aims and rich ingredients, Megalopolis is a muddled misfire of overcooked kitsch and undercooked ideas.

Kinds of Kindness is lighter on jokes and visual brio than many of the director’s previous films, with an overlong runtime that weakens the twist-heavy tension and punchy rhythm of having three back-to-back stories. Despite a solid-gold cast and some deliciously bizarre fairy-tale plots, it still plays more like a fun personal stop-gap project than a major career step.

It’s an earnest attempt at a warm embrace that squeezes the life and charm out of itself.

We’ve truly been down this road before, and none of Miller’s many talents can overcome the sense of familiarity that he’s already done all of this, and better.

For all its craft, though, Kingdom of the Planet of the Apes never finds the “aha” moment that justifies returning to the well for reasons more pressing than branding and global markets.

At 126 minutes, The Fall Guy overstays its welcome for a bit, but the stunts, the comedy, and the spark between the film’s dynamic leads make the movie a delectable kick-off to the popcorn pleasures of the summer-movie season.

Ministry works best when it chucks history out the window and leans into cinematic silliness.

It’s a collective simmer of sight, sound, sweat, and sensation about fascinating, complex people pushed through their paces on and off the court.

Civil War ultimately risks nothing and subsequently says nothing; it’s a thrilling war picture cosplaying as an examination of the zeitgeist.

What Patel has crafted delivers both kinetic action and real-world relevance, an exceedingly rare combination.

If Hollywood insists on continuing its own separate monsterverse, it could do worse than GxK, a film where giant beasts wallop the tar out of each other with thrilling efficacy.

The new Spenglers have the potential to be as memorable as the original cadre of Ghostbusters, but between the cameos by the 1984 cast (whom the film uses more as goodwill ambassadors than like the talented comic actors they still are) and the callbacks to Slimer and the Stay-Puft Marshmallow Man, they tend to feel like afterthoughts.

There’s an argument to be made, and I’m willing to make it, that Kung Fu Panda 4 is the best film in this series.

Drive-Away Dolls is, at its core, a comedy about eccentric people contending with inept but still deadly criminals. But neither the eccentrics nor the criminals feel remotely like real people, and their hijinks never summon up much hilarity or suspense.

The second chapter of Denis Villeneuve’s epic adaptation delivers on the visual grandeur and political intrigue, even if the characters tend to be reduced to their plot function.

The Eternal Memory is a salute to two courageous people, who were willing to share the joys of their daily lives, but also the anguish inflicted by a cruel disease.