Good Boy works well enough on its own terms, managing to sustain sufficient tension throughout the course of its smartly concise 73-minute running time.

My problem with The Age of Disclosure isn’t the lack of opposing voices. It’s that there couldn’t be experts debunking anything here. Nothing is proven, and thus nothing can be refuted.

Like many advocacy documentaries, October 8 does some cherry-picking of facts and draws some questionable conclusions. But there’s no denying the importance of its message and the need for corrective action by political, academic, religious and civil leaders.

The film, which bows on Max on March 13, is low on genuine scares, but it does boast an appealing cast, whose comic chops elevate the flick slightly above the standard streamer slush.

The Actor can be fun to think about, but hard to stay connected to. Johnson’s film works on an intellectual level — batting around questions about how identity is constructed — but the director struggles to translate the stakes of those questions.

Holland boasts striking advancements in the director’s style and committed performances from Kidman, Macfadyen and Bernal, but these qualities can’t quite save a narrative fundamentally confused about its purpose.

With its ambitious gonzo premise, Death of a Unicorn starts off on strong footing, but it’s quickly apparent that the story doesn’t have that many places to go.

Landon’s command of suspense, coupled with a compelling romantic thread and delightful performances from Meghann Fahy (The White Lotus) and Brandon Sklenar, make Drop a solid popcorn movie.

For the most part though, O’Connor’s direction is disciplined. He wrings humor from nearly every moment by staging action scenes as blunt as Christian’s commentary and employing transitions as precise as the accountant’s aim.

Despite its occasionally stale elements, the film succeeds movingly thanks to the inherent power of its narrative and the terrific performances by Boosher and the four young actresses (Amber Afzali, Nina Hosseinzadeh, Sara Malal Rowe, and Mariam Saraj) as the team members.

The numerous fight scenes, which often lapse into extreme gore, are as amusing as they are exciting.

In reviving one of the more toxic friendships in recent movie history, Feig reunites two stars whose chemistry makes this twisty, often very ridiculous and sometimes trying movie more compelling.

It’s a complicated meta-commentary delivered loosely in the guise of a ghoulish conspiracy thriller, presented in rushed form to an audience that would happily devour many more hours of the actual ghoulish conspiracy thriller that this is not.

The actors are all game for anything, but this is thankless work, in which the mix of live action and animatronics has no magic. The same goes for the talented voice cast, which also includes Colman Domingo and Hank Azaria in small roles.

It’s ultimately Rickards, who handles the intense physical and emotional demands of her role with consummate skill, that gives the film its heart and soul.

It’s witty, stylishly crafted and boasts a stellar ensemble, led by especially toothsome work from Cate Blanchett and Michael Fassbender. It keeps you glued, even if the movie ultimately feels evanescent, a slick diversion you forget soon after the end credits have rolled.

Unlike so many of Anderson’s efforts, In the Lost Lands isn’t adapted from a video game. But it sure as hell feels like one, and not one that would be fun to play.

Vartolomei is a compelling actress and the camera truly loves her, but there’s only so much she can do with a script that doesn’t have much of a second or third act.

Essentially serving as a constant spectator, looking in on both the production and her own tangled life, Seyfriend impressively conveys a myriad of tamped-down, long-repressed emotions with an economy of dialogue at her disposal.

Director Parkinson has lived with this story for so long now that he knows exactly how to ratchet up the tension and manages to make the action visually compelling even though much of it takes place in dark and murky underwater conditions.

Director Campbell clearly knows his way around this sort of material, resulting in some tense, well-staged action sequences that make Cleaner reasonably diverting for its concise running time. But the film never achieves the heights of the classic actioners that clearly inspired it, and its overuse of familiar genre tropes (for once, can’t the main villain be uncharismatic, like so many in real life?) soon becomes wearisome.

Blue Moon is a deceptively modest project, but it’s beautifully executed and fascinatingly nuanced despite being quite straightforward in terms of plot.

The documentary is generally engaging, and putting Spiegelman in a spotlight will always be worthwhile. But Disaster Is My Muse is in the shadow of Crumb, in the shadow of Maus and just a little bit behind the times, in various disappointing ways.

Bong’s adventurous new film barrels forward with chaotic plotting, as is often the case with the director’s work. But thematic coherence remains frustratingly elusive.

Rankin seems to be seeking out the universal language of cinema itself. In his own very weird way he manages to find it, turning an everyday place into something momentarily special — which is what all good movies are meant to do.

Derrickson offers a handful of memorable shots and genuine jump scares, but the director’s attempts to build dread in these moments come too late to have their intended impact. With so much of the film dedicated to establishing Levi and Drasa’s backstory and their romance, The Gorge is slow to get going on the action.

Unfortunately, Captain America: Brave New World proves a lackluster Marvel entry that feels as if its complicated storyline has been painstakingly worked out without a shred of inspiration.

What really distinguishes Bridget Jones: Mad About the Boy, however, is the depth of feeling it brings to the protagonist’s grief and her gradual emergence from it. That goes double for Zellweger’s performance.

Straining for its ungainly combination of action, romance and silly comedy, Love Hurts doesn’t fully succeed in any department.

It’s a moving and intimate narrative about the toll displacement takes on generations of people.

The movie arguably takes a little too long to kick in, but once its sense of danger — devious, disturbing, wryly amusing — is established, it never stops.

This very Bronx tale of teenage pregnancy and inner-city strife can seem familiar in terms of content, but never in terms of form.

The Ballad of Wallis Island breaks no new ground, but it’s an unexpectedly pleasurable, funny-sad watch, full of sweet, soothing music.

Funny, sad and uncomfortable in shifting proportions, the film is at once an urgent public service announcement and a documentary memento mori — not always pleasant to watch, but far more pleasant to watch than the subject matter would suggest.

This gonzo premise doesn’t have anywhere else to go, and to compensate, Twohy pads the screenplay with quirky antics that tax viewer patience and expose a narrative thinness that’s hard to ignore.

Deva is a diluted, labored retread.

Kinda Pregnant doesn’t deliver on charming main characters nor sustainable humor. It’s a staid affair, coasting on its zany premise and a handful of amusing moments.

In its mix of remarkable archival material, the film is both tender and galvanizing, summoning up what New York felt like in 1972 (yes, I would know) and offering a fresh slant on a country’s upheaval and a generation’s countercultural awakening.

Seeds is not a journalistic investigation but a poetic contemplation.

Despite its shadowy visuals and insidious soundscape, it’s neither frightening enough to play like full-fledged horror, nor complex or curious enough to pack much weight as psychological drama.

It’s a tough balancing act that the director, whose previous works dissected teen movies (Beyond Clueless) and horror flicks (Fear Itself), pulls off with a mix of earnestness and cheekiness.

The insights and artistic inclinations that populate Kramer’s work aren’t for everyone, and there’s a good chance By Design won’t connect with most viewers. But the alienating nature of the premise is what makes it fascinating, pushing us to question how we want to be seen and experienced as people in the world.

Bryn Chainey’s Rabbit Trap has a creepy sense of dread, striking images of invasive nature and an intriguing baseline about the otherworldly properties of sound, making it a somewhat promising debut feature.

That interplay between work and life gives the project its distinctive perspective and offers the most acute revelations. The lack of talking heads commenting on her enhances the intimate feel.

The drama does eventually come full circle, but it’s gone so far off the rails by that point that it’s hard to bring us back.

If Sunfish is a vacation, it’s the kind that’s less about escaping into a fantasy than about trying on a different reality: learning your way around the terrain, getting to know the locals, falling into their everyday rhythms.

Ricky struggles with underbaked narrative threads and breathless direction that can verge on unfocused.

First-time writer-director Carmen Emmi’s aesthetically overworked use of low-grade video and distorted sound is intrusive, but very fine performances from Tom Blyth and Russell Tovey keep you glued to this sexy, sad, authentically gritty drama.

The creatives’ obvious affinity for the genre comes through in every frame of the film, and to their credit Heart Eyes includes many clever touches.

Despite its narrative issues, there’s a lot to like about Oh, Hi! With its playful writing and game cast, the film is sure to attract young fans and find its audience. At its root, this is a surprisingly sensitive commentary on uniquely millennial romantic loneliness.

Marlee Matlin: Not Alone Anymore does offer an engaging, exuberant portrait of the relentlessly likeable Matlin.

Magic Farm features a stupendous cast fully in sync with Ulman’s deadpan absurdity. The actors effortlessly entwine the droll and the ingenuous, but as Ulman juggles more characters and more plot angles than in her first movie, there isn’t necessarily more payoff.

The strengths of Love, Brooklyn make the weaknesses harder to shake. For every scene bursting with energy and texture, there are oddly vague moments that destabilize its hold on us.

Many viewers will no doubt feel initially disdainful of John’s recklessly dangerous pursuits, but the film presents his inner struggles so empathetically that by the end all you feel is sadness for a life tragically lost.

It’s Never Over might not be the Buckley bio everyone needs, but it’s a stirring tribute made with a lot of heart.

Folktales is an easily embraceable coming-of-age documentary that makes up for what it lacks in depth with its surplus of wise, vaguely anthropomorphized canine companions.

Bunnylovr‘s strengths are in its engaging character study of a languid young woman who came of age online. It’s not a novel portrait, but Zhu makes it wholly her own.

A kinetic blend of a fictional Afro-futurist narrative, archival research on decades of Black visual and multimedia work, and personal history.

Gates offers an incredibly compelling premise, shedding light on the scale of military propaganda in the United States, but in taking on so much, her film ends up not saying enough.

It’s refreshing to see a horror movie that relies less on shock tactics than good old-fashioned dread and revulsion.

The passage of time is somehow both fluid and jagged in Clint Bentley’s soulful film of the Denis Johnson novella, Train Dreams. It flows or ambles or bumps along, passing over moments of joy, shock, discovery, lonesomeness or devastating sadness, but just as often over seemingly mundane experiences that only later reveal their significance when we look back.

Whatever the movie lacks in surprise or sophistication, it makes up for in sly comic verve and a soulfulness that sticks with you.

Something more complex and rewarding than surface tension is at play here, and it builds to a conclusion of breathtaking openheartedness. Sometimes a blip on the road is magic in disguise, the root of a dazzling new constellation.

Despite solid performances from Edebiri and Malkovich, Opus never takes off. It mostly meanders, relying on leaden expository monologues to move the plot, and rarely delivers on the promised horror of its atmosphere.

The animation, too, is consistently delightful, densely crammed with visual gags and imaginative flourishes.

Ferrell works hard, very hard, to put the material over, and to his credit, he occasionally succeeds by dint of his boundless comic energy. And Witherspoon, returning to the sort of broad comedy with which she triumphed in such films as Legally Blonde, matches him effectively with her sharp timing and appealing screen persona.

Funny and poignant in equal measure, the comedy of manners does sag here and there, with a noticeable energy dip around the two-thirds mark. But the winning cast are able to steer it back on track before the irresistibly sweet conclusion.

Bill Condon sets himself a tough assignment trying to transform the tricky material into a great movie musical, but thanks in part to laudable work from his three leads, he occasionally comes close.

Predators isn’t a documentary about closing the door on the To Catch a Predator legacy, but on seeing what shades of gray we can discover now that the door is ready to be reopened.

Poetic in its simplicity yet crafted with as meticulous attention to detail as Hujar’s reflections on his day, this is a singular meditation on the life of an influential artist for whom major recognition came only after his death. It has the feel of a rare find plucked from a dusty archive.

A fantastical tale brimming with adventure and originality.

Half visceral, first-hand treatment of this particular war and half existential meditation on the ephemeral nature of modern warfare in general, 2000 Meters to Andriivka is perhaps less instantly harrowing than 20 Days in Mariupol. But its haunting impact may go further toward reshaping viewer perceptions of the ongoing conflict.

Blichfedlt’s aesthetic ambition — hyper-pop prevails here — and a committed performance from Les Myren as the titular stepsister help enliven a film that, at times, is weighed down by its more farcical antics.

Questlove shapes an engaging narrative that charts Stone’s undulating career.

As evidence mounts, The Perfect Neighbor steadily and deftly builds momentum until its crushing apogee.

What makes Twinless special and surprisingly compassionate is how this director handles grieving characters.

While the drama depicts a situation most parents would find unthinkable, it does so with unfailing compassion and sensitivity.

Made with love and acted with great empathy by a cast led by always dependable pros Olivia Colman and John Lithgow, Jimpa is nothing if not sincere. But to be brutally honest, it’s also kind of a cringey bore, like being stuck in a room with a bunch of oversharers from queer studies class.

Through all this, Byrne’s high-wire act remains riveting, scrutinized for long stretches of the film in DP Christopher Messina’s probing closeups. It’s a bruising performance, digging deep into the intense pressure and isolation that can sometimes accompany motherhood.

Like so many pictures about artists, be they visual artists or composers or even writers, Modi, Three Days on the Wing of Madness doesn’t dare to engage with any seriousness about craft, application and technique or any of the nitty-gritty stuff that truly makes their creations important.

Though an array of family and lovers are interviewed, the most interesting comments come from European critics and directors.

With Game Changer (which this critic saw dubbed in in Hindi), Shankar’s signature maximalist storytelling instincts have gone into overdrive. Every beat is heightened. Every expression is exaggerated. Every emotion is drilled into our brains. For two hours and 45 minutes, this film veers between ridiculous and even more ridiculous.

Flight Risk manages to deliver some high-altitude thrills in its breathlessly paced 91 minutes. But its clunky dialogue, uneven performances and less-than-grade-A special effects ultimately make it the Spirit Airlines of airborne thrillers.

[Yeoh] has such a commanding and darkly amusing screen presence that the pedestrian film can almost, but not quite, be forgiven for letting her down so completely.

The gimmickry ultimately wears thin and you find yourself thinking less about the inventive way the scenes were shot . . . than the flimsy narrative.

The tyro director steps up to the plate beautifully, delivering an ingenious, fast-paced horror-thriller that keeps you on the edge of your seat while also featuring generous doses of mordant humor.

Love, to quote that woozy old ballad, is indeed a many-splendored thing that takes many forms — a multiplicity that Love the film is quietly alive to.

The movie won’t carve a spot in the classic action-comedy canon, but it’s easily digested fun, which is no bad thing.

One of Them Days, produced by Issa Rae, is the kind of big-laughs, mid-budget theatrical comedy that used to be more common; it’s a shame TriStar scheduled a January release, because the film had the potential to be a summer hit. Its two charismatic leads alone make it worth seeing in a theater, surrounded by a crowd primed for a good time.

There’s no shortage of intensity or gore, not to mention brisk efficiency in the way the script isolates a fragile family unit before plunging them into lycanthropic mayhem.

The unapologetic sentimentality doesn’t make this bittersweet comedy-drama any less touching or insightful in its observation of spiky family interactions when end-of-life issues and questions of inheritance cause sparks.

Unfortunately, the superbly orchestrated car chase/shootout, taking place both in a tunnel and on winding mountain roads, occurs nearly two hours into this equally bloated sequel’s 144-minute running time. Until then, you spend a lot of time watching the characters luxuriate in the European settings via consuming copious amounts of croissants, gelato and tiny cups of coffee.

If making a film is challenging under fortunate circumstances, one can only imagine the obstacles faced by filmmakers trying to survive annihilation.

I got bogged down frequently in the familiarity and intentional messiness of the story that Veiel and producer Sandra Maischberger chose to tell, while at the same time wondering what sense a wholly unaware viewer would be able to make of this woman and the long shadow she still casts.

Baby John is the sort of film that pummels you with star power (including a Salman Khan cameo), extravagant visuals, ear-bleeding sound, fantastically gaudy songs and a story that twists and turns with flashbacks, double identities and assorted villains, but despite all that flash fails to hold you.

Sonic the Hedgehog 3 gets the job done, and should provide entertaining diversion for families during the holiday season.

There are instances where you can see the director experimenting and attempting to disturb Disney’s imposing order, deploying close-ups, almost ground-level pans and strategically sweeping views to find warmth and tactility within a cold technique.

Egerton and Bateman’s performances elevate Carry-On and contribute significantly to the film’s overall success. Even when the repeated showdowns between the TSA agent and traveler lose potency, these actors maintain the narrative’s tension and viewer investment.