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.

With its focus on the news gathering process, Waves affirms the importance of independent and ethical reporting.

This film has sweat, ambition, audacity. And yet, we have to ask: How much Pushpa is too much Pushpa? Because three hours and 20 minutes is definitely an overdose.

Punishingly dull.

The Bibi Files paints a damning portrait of its subject’s machinations to stay in power.

Whatever script flaws there are in terms of structure, plot momentum and an opaque central character, A Complete Unknown offers rewards in its lived-in performances and in the exhilarating music sequences that propel it forward. For many audiences with an affection for Dylan’s music and the era in general, that will be enough.

The battle sequences in particular are stunningly rendered, and will certainly benefit from being viewed on the largest possible premium and large-format screens.

The Six Triple Eight relates a little-known story that fairly demanded to be told, and does it full justice.

In lieu of revelations, though, what keeps Martha engaging is watching Cutler thrust and parry with his subject.

Do stars Shea Whigham and Carrie Coon manage to make the material feel both fresh and engaging? Yes.

The frenetic editing might leave some viewers dizzy as they try to sort sober realities from sensational storytelling, but Grimonprez makes thrilling connections that should push viewers to pursue their own research.

It’s a Gothic horror nightmare heaving with sumptuous visual detail, groaning under the weight of portentous dread, writhing with both convulsive violence and sweaty eroticism and leavened by sly hints of fiendish camp.

To their credit, the directors aren’t afraid to take things way too far — which could be considered a quality in and of itself, but not one that’s sustainable for nearly 90 minutes of action.

It should hardly come as a revelation that Black’s hardworking comedic efforts are the film’s saving grace.

While the highly anticipated follow-up features stunning animation, it lacks the cohesive narrative and emotional intimacy that made its predecessor special.

Tedeschi’s film is a declaration of love for the Beatles, but what distinguishes it is its curiosity about the America of that time, beyond the bubble of the four Scousers who can hardly believe they’re drinking cocktails in Miami.

The film flaunts vivid animation and some pretty striking moments, captured with close-ups and unexpected angles — but similar to Skydance Animation’s debut venture Luck, Spellbound inspires a sense of déjà vu.

Throughout Night Is Not Eternal, Wang models an urgent and necessary type of critical thinking. Her questions become one of the most striking elements of this project, which takes a surprising turn.

Ultimately, Sabbath Queen isn’t interested in the headline-grabbing macro conflicts that embroil Jews globally, but the internal culture wars within Judaism itself: fascistic fundamentalism versus reformist progressivism; dominant cishet masculinity versus burgeoning feminine and gender nonconforming voices; hallowed bloodlines versus chosen family. It is one of the best films I’ve seen this year.

The clashes between Afghan women and the Taliban forces oppressing them is captured with clear-eyed honesty and a compassionate eye in Bread and Roses

Grande and Erivo give Stephen Schwartz’s songs — comedy numbers, introspective ballads, power anthems — effortless spontaneity. They help us buy into the intrinsic musical conceit that these characters are bursting into song to express feelings too large for spoken words, not just mouthing lyrics and trilling melodies that someone spent weeks cleaning up in a studio.

The auteur seems to be squeezing everything he can into a personal manifesto in which cinema, history and real life become interchangeable, and in which he tries to situate his output within film’s larger trajectory.

In terms of brutal spectacle, elaborate period reconstruction and vigorous set pieces requiring complex choreography, the sequel delivers what fans of its Oscar-winning 2000 predecessor will crave — battles, swordplay, bloodshed, Ancient Roman intrigue. That said, there’s a déjà vu quality to much of the new film, a slavishness that goes beyond the caged men forced to fight for their survival, and seeps into the very bones of a drama overly beholden to the original.

The Best Christmas Pageant Ever never quite lands its most poignant moments because Imogen and her siblings remain stubbornly at a distance.

Dawn Porter crafts a striking profile of a singular musician.

This is a high-concept, CG-saturated bore that lacks heart and infectious humor, even if it huffs and puffs its way to a little poignancy in the end.