Except for its songs, Bohemian Rhapsody too quickly becomes forgettable; something the real-life man at its center, who died of AIDS-related illness in 1991 at the age of 45, never was. Watch the real footage; you’ll see.

Diego Garcia’s cinematography plays a key role, showing us lavender sunsets, endless plains and fire spreading down a hill like melting butter. Amid this beauty, Dano’s direction is restrained, letting us focus on the pain in Mulligan’s darting eyes.

The movie lets Israel have the last laugh, deliciously so.

Brewmaster is a great thirst-quencher for fans of craft beer.

The basics of Draper’s story hold promise, but the film derails because Jack and Oliver just aren’t charming as social pariahs.

The film is an achievement in authentic world-building, but you can’t shake the feeling that what Mid90s does say isn’t perhaps what Hill intended it to.

Florid but warmhearted — much like the man at its center — The Happy Prince is a haunting portrait of the aftermath of betrayal; of how the master of comedy became a tragedy.

Hunter Killer grabs the audience by the throat and speeds ahead while disbelief wallows helplessly in its bubbly wake.

In between all of these delights is an awful lot of filler

Political satire is one of the trickiest of genres; this one, running out of steam and nerve, ultimately becomes a too-familiar example of another genre: the 93-minute movie that feels way, way too long.

In this, his feature directorial debut, Möller makes a whole lot out of very little: a whole lot of dramatic forcefulness out of the most simple and basic of elements, a solitary man struggling to do the right thing.

These filmmakers have made arguably the best Halloween since that first one.

Themes exploring redemption and forgiveness fall flat because it’s impossible to empathize with these characters. Mostly, this is an exercise in style; a slick tribute to righteous trash that promises a lot more fun than it actually delivers.

Gosling, who previously worked with Chazelle on “La La Land,” is perfectly cast.

Despite the gravity-defying cinematography and alpine setting, Free Solo transcends the climbing world and intimately examines something universal. How can Honnold risk pain to the people who love him in pursuit of a lofty personal goal?

The mood of the picture is relaxed. The vibe given off by Redford and his principal co-stars Casey Affleck and Sissy Spacek is one of accomplished professionals feeling supremely comfortable inhabiting their roles.

Stirring and enraging, The Hate U Give squeezes the air from your lungs. Bleak and heavy, it’s also hopeful and joyous. A palpable manifestation of suppressed anger and frustration too powerful to ignore, it offers a complex look at a complicated problem, one screaming to be addressed.

Its honesty and power makes it feel large; you live among these characters in their weary trailer park, aching for them.

Adapting a prizewinning novel by Canadian writer Patrick deWitt, Audiard has made an atmospheric Western in which the four lead actors portray their characters with remarkable subtlety.

The unusual but revealing documentary Matangi / Maya / M.I.A., a hodgepodge of old video diaries, music videos, performances and interviews spanning decades, reflects M.I.A.’s passionate efforts to enlighten fans about victims of government oppression — while also getting people around the world dancing to her music.

A picture in the running for the dubious distinction of being perhaps the worst Marvel-derived origin story ever.

What Bradley Cooper’s beguiling A Star Is Born is very, very good at is showing us how a song can transform a person, or a moment, and how that transformation just might make us fall in love with the person singing it, for a moment or for longer.

Here, the focus is on Knightley, who delivers some of her best work.

Happy anniversary, Little Women, but I think I prefer you back in the 19th century; dreamy professors aside.

Director Malcolm D. Lee, whose previous movie, 2017’s raucous “Girls Trip,” gave Haddish her star-making breakout role, does her no favors here. In this mess of a movie, her performance is merely adequate. She, and the audience, deserve better.

It’s cute, it’s cuddly and Tatum is charming as the lovable, well-meaning goof. Young children who haven’t seen every trick and trope done better a thousand times will love Smallfoot, but for the rest, it’s instantly forgettable, like a 96-minute memory gap.

The worst thing about Life Itself is not that it is emotionally sadistic. It's just how much it wants to be emotionally sadistic, while missing the mark by a mile.

You get a sense [Eli Roth]'s struggling to rein in his penchant for gory frights, and for that reason “Clock” feels like a movie at war with itself.