From one scene to the next, like paint strokes slowly giving shape to an idea on a canvas, one can draw thematic parallels between the individual stories.

No doubt Rogowski shines brightly in this role—he’s known for his physical acting and portraying tacit protagonists has become his speciality lately (“Luzifer” or “Great Freedom”)—but seeing the way Louvart films him causes ripples of delight, most probably saving the film from a decisive failure on a conceptual level.

Anchored by its competent trio of protagonists, The Adults would have been a lovely time if not for the overused mishmash of twee gimmicks.

The wretched allure of this process makes “Inside” worth the investment even when Katsoupis proves unable to resist the charming hands of cliché, bloating the script to serve the idea of an unconventional heist movie, when in his hands lie a much more interesting proposition.

Ultimately, it’s Sweeney’s show, and she excels in locating small crannies of tacit detail within these offhanded lines.

If the script plunges into the frustrating waters of predictability, Manodrome finds some solace in the asserted cast.

She Came to Me lacks the palpable chemistry of a rom-com and the sobering relatability of a Nicole Holofcener dramedy, but it does find moments of inspiration thanks to its A-lister cast.

It is a loving — and highly entertaining — ode to the outcasts who dream of nothing more than a life filled with fixing whirring gadgets and afternoons spent in “Star Trek” matinees.

This is a sweeping, lived-in romance that is as resonant as it is precise.

As the train goes, so does Terror Train: going around and around in its redundancy that the audience can’t wait to disembark.

The Reason I Jump is a rewarding watch that attempts to give insight into the interior lives of those living with autism.

She is Love feels incomplete; it’s a series of scenes searching for a narrative and a trio of talented actors searching for believable characters.

The First Step engages without patronizing and tries to provide a balanced portrait of Jones and his causes.

Marlowe isn’t the catastrophe that others may make it out to be, but it’s instead just inert, forgettable immediately after the credits roll. Jordan feels like he’s going through the motions, uninterested in bringing any personality to the genre.

Quantumania is not all dud, per se. Even if it’s not as comical or entertaining as usual, there is a good cast involved here, Kathryn Newton is a welcome edition, and Paul Rudd can’t help but elevate sub-par material. But otherwise, Quantumania is shockingly unremarkable.

Molehills to the rich feel like mountains to the working class, and Gravel finds the stylistic tools that can translate such scale into riveting cinema — and confer the kind of importance that the Julies all over the world deserve.

80 for Brady displays how Marvin’s sensibilities about friendship are primed for a mass audience. He knows the audience and, more importantly, that no one will mistake what he’s aiming for here.

However well Sharper is put together, the sum of its parts doesn’t quite add up, and it’s hard to ignore that something that laughs in the face of a linear narrative, and embraces bold complexities, feels too flat and par for the course.

If you go into Little Dixie expecting nothing more than to watch Grillo take out some bad guys, you’ll be more than satisfied with the ride “Dixie” has to offer. Just don’t go in expecting anything more.

This high-concept horror too easily crosses over from charmingly erratic to nonsensical.

Both breezy and deeply emotional, Brosh McKenna’s directorial debut could be a leader in the rom-com renaissance the movies have so desperately needed.

There’s not a single moment in the film that is palpably authentic or genuinely romantic, but the ensemble nonetheless puts their pluckiest foot forward.

What the script thinks is unique about itself is all surface level, resulting in a film that feels like a copy of a copy of something that maybe once had been original but now feels as fake as a wax figurine.

As the title suggests, Swallowed gives you something to chew on, but apart from a few shining and delicious morsels, it’s less of a feast and more of an underwhelming meal.

The two creative engines of the series might seem like strange bedfellows — the brainy Soderbergh and the brawny Tatum — but the duo brings out the best in each other. The director appreciates the earnestness of his leading man and finds ways to deepen that charm through quick-witted humor.

Knock at the Cabin does not disappoint. It’s a movie that reminds us why Shyamalan is one of contemporary cinema’s greatest alchemists and a prime example of a filmmaker at his best and boldest.

When a horror movie goes out of its way to make its viewers feel as terrible as “In My Mother’s Skin” does, then that movie might just as well make feeling terrible worth it. Dagatan’s eye for gnarly practical and CG effects is buttressed by solid visual sensibilities, occasionally hamstrung by stray washed-out nighttime sequences, and wicked morality.

The rom-com is a rich and vital love story that breaks the mold with its visual acumen and bright spirit. “Rye Lane” doesn’t gesture toward an awkward cool; it’s an effortlessly cool picture that finds glee in the sights and sounds of these characters’ lush surroundings.