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.

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.

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

Matarrese may be capturing a tiny utopia in one public hospital in northern Italy, but his movie leaves us with the hope that, sooner than later, such a place may not be so unique.

Borenstein and Talankin keep the focus mainly on the kids and the slow creep of authoritarianism, rather than the adults, but Pasha’s voiceover and occasional address to camera hint at qualities the filmmakers seem hesitant to discuss.

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.

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.

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

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.

It’s a trippy, meandering journey, but the moments of amusement and insight are ample.

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.

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 film playfully critiques certain Muslim customs, but never in a demeaning way, while providing a heartwarming coming-of-age narrative that’s a tad predictable.

At heart, it’s a story that shows no clear ending yet, and Noam makes for a fine guide to this purgatory.

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

Performances are also key to reinforcing Bring Her Back’s creepy tenor, from Hawkins’ increasingly distressed portrait of a woman undone by loss to Wren Phillips’ engrossing portrayal as Oliver. Barratt and Wong have a tender, natural chemistry that makes their sibling bond easy to invest in.

The sequel is certainly a stupendous achievement in terms of its animation, and clearly has great cultural resonance in its native country. But those looking for coherent storytelling or emotional depth will have to wait for the next Pixar offering (not that the company has been distinguishing itself lately).

The Ice Tower doesn’t grip you as much as it asks you to gaze at its hazy, nightmarish imagery, and either fall under its sway — or not.

Their low-key chemistry and obvious affection for each other despite their past issues are still very much on display, delivering a nostalgic kick that you don’t even have to be high to enjoy.

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 humor is very droll and deadpan but, as the above examples indicate, more chuckle-inducing than hysterically funny. As with so many belated follow-ups, Spinal Tap II: The End Continues mainly coasts on nostalgia and affection for the original.

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.

While there’s not exactly a surfeit of character development, the screenplay co-written by Corrigan and Hope Elliott Kemp provides just enough motivation to keep us interested in more than just the caper.

Bell (Kinda Pregnant, Brittany Runs a Marathon), who co-wrote the film with Jules Byrne and Liz Nico, has constructed a familiar film that checks the boxes of classic teen comedies. Summer of 69 presents a charming protagonist, her reluctant co-conspirator and a gallery of characters who support their antics and propel the drama.

Even if the movie kind of stalls midway as Schaffer struggles to balance the gags with the action of an overly elaborate crime plot, there are enough laugh-out-loud moments to keep nostalgic fans of the earlier films happy and maybe make some new converts.

No subtext goes unexplained, and at times the score underlines what we already know. But the actors always find the grace notes, and there are sparks in the way everyday exchanges turn sharp with compassion. There are welcome laughs too, particularly in Bracco’s grump-meister line readings.

The pangolin is such a unique beast — this one hilariously feisty and driven — and Thomas’ dedication to its care so touching that the captivating movie never loosens its hold.

The lead actors’ combative chemistry is what keeps Jay Roach’s overcrowded remake zingy even when it threatens to turn from savage to sour.