Cage chews up every scene he’s in and seems to be having a blast — he’s always over-the-top and never boring to watch, in a film that delivers the goods for those who like him best when he’s just about lost his mind.

Corner Office succeeds all too well in conveying the deadening effects of office work, practically serving as a testimonial to the pandemic-created trend of working from home.

This is an elegiac story, a humanistic metaphor for a vanishing world seen through the prism of a vulnerable couple cruelly written off by their families as worthless encumbrances.

It proves more interesting in its chronicling of the business practices that made the Beanie Babies such a sensation, at least for a while, than in its portrait of personal dramas, the veracity of which obviously has to be called into question. Overall, the movie follows a by-now familiar trajectory, with the company’s mammoth success inevitably followed by its big fall.

The documentary that it chooses to be instead has appeal but, in the rush to get it onto screens before the next time somebody dares underestimate Curry, perhaps it lacks sufficient refinement.

This is a big, ballsy, serious-minded cinematic event of a type now virtually extinct from the studios. It fully embraces the contradictions of an intellectual giant who was also a deeply flawed man, his legacy complicated by his own ambivalence toward the breakthrough achievement that secured his place in the history books.

Barbie is driven by jokes — sometimes laugh-out-loud, always chuckle-worthy — that poke light fun at Mattel, prod the ridiculousness of the doll’s lore and gesture at the contradictions of our sexist society.

As “Hitchcock” notes, his movies have been analyzed every which way and back again. Cousins’ fresh approach divides the work into six sections, an elegant capsule melding existential questions with the practical challenges and opportunities of big-screen storytelling.

While it’s a wisp of a movie, almost directionless at times and self-consciously quirky at others, Fremont contains enough poignantly observed interludes to make the whole greater than the sum of its parts.

A moving and complex homage to Barrett, Bogawa’s film also turned out to be his “goodbye to Storm,” who was ill with cancer during its making.

Rock ’n’ roll mythologizing is one of the subjects of Squaring the Circle and Have You Got It, but it’s not their method. Rather than reaching for a neat or aggrandizing summing-up, they grapple with the passage of time and the perspective it brings.

Directed with pedestrian competence by Thaddeus O’Sullivan, The Miracle Club is about secrets that are all too obvious, and forgiveness you can see coming from the start.

When Foxx is onscreen with Parris, a certain kind of magic happens. The pair treat their characters’ verbal tussles like rappers in a cypher: Their metaphors are smooth and their egos huge.

The result is a sly, often playful but ultimately moving study of community, generational anguish and atrocities covered up by the state that blends documentary technique with originality and polished storytelling skill.

Lakota Nation vs. United States is a visually dynamic documentary, and it’s also one that delves into the power of language and how we use it.

The movie is technically accomplished, well-acted, atmospherically unsettling and certainly watchable. . . But as genre material, it’s generic.

Gariépy, masterful in her emotional and physical exactness, is a revelation as the enigmatic Kelly-Anne, whose stringent control over herself and her environment masks a sick compulsion whose origins we can only guess at.

There’s a good story at the heart of The Out-Laws about Parker coming to terms with her family’s long criminal history. But that’s more or less tossed aside in favor of all the nonstop gags, in a film that starts off like Meet the Parents and ends like a goofier The Expendables, some excessive violence included.

While Hugo Perez and Cathryne Czubek don’t tell a perfectly crafted story in Once Upon a Time in Uganda, their film captures enough of Nabwana’s resourcefulness and enthusiasm to make one wish his movies (which have played some fests in North America) were easier to see here — not on YouTube, but in theaters where their shout-at-the-screen, howl-with-your-seatmates vibe would be just the thing to remind you how essential the communal experience of cinema is.

The strong cast, high-gloss production values and constant wow factor of the action offer plenty of distraction from the storytelling deficiencies.

Alberdi makes her directorial hand virtually invisible, observing her subjects from a discreet distance that allows them to be narrators of their own story while never speaking directly to the camera.

The impeccable selection of closing clips allows us to reimagine him as a man not just idolized as a star but accepted for the entirety of who he was.

Ruby Gillman, Teenage Kraken charms and woos in a predictable manner.

Emerging from this extraordinary theatrical happening like a weary but still commanding oracle, Mac has shared a vision of America both personal and probing — tender, bruised and yet defiantly, magnificently hopeful. It’s simultaneously delirious and graced by what seems almost like ancient queer wisdom from somewhere way out there in the cosmos.

Foster’s research and storytelling are very satisfying, even if the results aren’t. Many of those involved wound up serving prison time, but of course it was far too short, too gentle and not served in the same cells as the Big Pharma execs who made this horror story possible.

Every Body is primarily an informative documentary, one that takes a cursory glance at many facets of the intersex awareness conversation to give viewers unfamiliar with the material a new perspective.

This exercise in brutal nihilism ultimately proves as empty as the inane philosophy that provides the film its title.

Perrier’s direction — which pays sweet homage to romantic comedies and vintage Hollywood — makes up for the underdeveloped narrative and occasionally stiff performances from the supporting cast.