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.