The picture’s strength is in its honesty.

Some might dismiss the film as minor Wheatley — made in just a couple of weeks, on a budget likely smaller than even many of Wheatley’s inexpensive earlier pictures. But there’s a lot going on in it, from the genuinely profound portrait of how families can bring out the most toxic sides of their members when they’re together, to a light sprinkling of state-of-the-nation, post-Brexit commentary.

Watts’ film is comprised of terrible coincidences, bad mustaches and a pervasive sense of desperation. It’s also wholly unable to live up to its obvious promise.

The narrative provides enough thoughtful laughs that fans of politically-tinged genre fare featuring phallic fire totems should chuckle enough and have fun.

The Lost Arcade suffers not because it lacks an egalitarian heart, but because Vincent makes his arguments through a myopic lens.

While its structure is a little lopsided (the beginning portion plays like a doc about Choy) and the tone tends to sway somewhat harshly between justifiably acidic and politically enlightening, “The Exiles” is an essential look at “philosophical homelessness” and an expert example of documentary cinema as a truth-telling device.

For all its bluster, end-of-doom stakes, gravitas and super-seriousness, what Whedon’s movie does best is communicate its concern for the all the human beings touched by this story: the broken, nearly shattered heroes, their extended families and even the civilians caught in the crosshairs.

Collette delivers one of the best performances of her already impressive career in Glassland.

Meticulously crafted and investigated (and no doubt heavily vetted by lawyers), Berg brings a sobering solemnity to a very grave matter, but also lends a dignity to its subjects without pandering.

Flawed but still engaging, “The Kitchen,” at least, has good intentions about togetherness and brotherhood and is a promising debut for Kaluuya and Tavares.

Like Searching, Missing has something tenuous it wants to say underneath its shocking mystery about viral social media culture and the true crime craze; how our social media culture is too prone to exploiting real peoples’ pain for clout and consumption. But if there was an inkling of profundity in this regard in Searching, there’s none of it to be found in Missing, which functions more like a direct copy of true crime rather than an interrogation of it.

Its half-baked political ideas take away from the wholly satisfying and surreal Pixar riff it could have been.

Shin Godzilla ushers in a new age for Godzilla, and a welcome one at that. It’s not perfect, but it’s ready to ask big questions and also demand thoughtful answers. In that sense, it’s one of the most valuable Godzilla movies to come along in years, decades even.

There are moments of genuine magic that make you wonder what this movie could have been. But do they linger like that imaginary friend you’ll never forget? In this case, perhaps not.

While Leigh transports you back to 1819 through these rich characters, he simply tests the audience’s patience in getting to the heart of the story. There is an abundance of formal speeches and long monologues in the film, and they are often arduous and repetitive.

The pleasure and the pain are all up there on the screen; we just wish it was less painful to watch.

This is a film that’s wantonly absurd and even silly, and yet, bubbling underneath it all, Clara’s Ghost never takes its eyes off its protagonist or our empathy for her even when she pushed to the edge of the frame both literally and figuratively. And Niedert Elliott’s performance is haunting, perfectly capturing that ambiguous space between comedy and drama that gives the movie its edge.

The film comes to life when Majors and Powell are in the air. Dillard and cinematographer Erik Messerschmidt make the sky feel vast and alive, threatening to swallow up Jesse and Tom at any moment. Along with the film’s thrilling flight scenes, Majors is the biggest draw of Devotion, showcasing his distinctly masculine vulnerability to portray a man as strong as he is silent.

Fortunately, the events onscreen do little, if anything, to tarnish the careers of two beloved actors who are still consistently operating at the top of their game despite the seemingly accidental efforts of director James Ashcroft.

Creed II is exactly what you want from a ‘Rocky’/’Creed’ film: it’s engaging, emotional, gripping, and entertaining and as a part two nudges the characters forward in all the right ways.

Clearly, the director takes great risks off-screen. If only they were as great on the screen.

It’s an uneven film, but a deeply passionate one that also features an A-list actress at the top of her game.

What saves the movie is Solondz’s sensibility, which is still one-of-a-kind.

Gitai rightly trusts in the fascination of material that needs no sensationalism or gimmickry to command our whole attention.

The Founder certainly does not reinvent the meal, but as a bite sized, consumable snack (that feels like 90 minutes though is actually much longer), its lively and entertaining spirit does often hit the spot. And surprisingly, though traditionally told, the narrative does unwrap a deceptive bite along the way.

An epic coming of age journey with scale and spectacle, and rousing heart, Mulan, is a triumph and essentially boils down to a wholehearted tale of feminine resolve, proving the boys wrong and making a father proud while being true to one’s self. That sounds a little simplistic, but Caro’s movie has surprising layers, of color, contour, and shade to shape her magnificent new empowering fairy tale.

Some good laughs and a passable air of bonhomie do nothing to cover up the fact that The Angels’ Share is totally lightweight and distractingly underdone.

Spike Lee’s documentary on this formative period in Michael Jackson’s career derives its electric, enlivening energy from these fantastic clips. Alas, they’re not enough to alter the fact that this non-fiction effort . . . is merely a nostalgic promotional puff piece meant to look back fondly, and uncritically, at an artist transitioning from a youth-oriented pop fad to the biggest star in the world.