The beauty of The Florida Project is how Baker uses a cast of mostly inexperienced actors to tell a story that feels completely, utterly real: You feel as if you’ve slipped inside of Moonee’s enchanted world, while at the same time seeing the harsh reality of Halley’s.

Despite the twee being occasionally laid on too thick, Goodbye Christopher Robin is ultimately a pleasant enough wallow in British childhood.

Sometimes, all the pieces are there, but it just isn’t worth putting the puzzle together. Such is the case with Tomas Alfredson’s The Snowman.

Neeson’s Felt is deeply conflicted about being a turncoat. He’s also deeply flawed, a man who authorized illegal activities to track down members of the terrorist Weather Underground.

It was a pleasure to become happily lost in this unique film’s world of color and line, and to see two filmmakers’ mad dream come true.

Under the direction of Joseph Kosinski (“Oblivion”), a large cast headed by Josh Brolin and Miles Teller bring great vitality and sensitivity to their performances.

Angela Robinson’s fascinating and surprisingly sweet-natured film is a different sort of superhero origin story, and an appropriate bookend to this summer’s “Wonder Woman.”

Marshall is a handsome, old-fashioned film about a real-life hero, with a message of equality and justice that always bears repeating.

Hilarious, raucous and smarter than it’s likely to get credit for, Happy Death Day is an absolute blast for both horror junkies and those just looking for a fun jolt on Friday the 13th.

[Martin Campbell's] a master at rejuvenating tired warhorses, and he pulls it off again with this one.

In the hands of lesser actors I shudder to think of what a slog The Mountain Between Us might be, with its endless catastrophes and near-deaths and melodramatic declarations. But Winslet — who gets her own superhero moment near the end — and Elba are so likable and charismatic together, they just about sell it.

Perhaps in an effort to tell a PG story about an all-ages storyteller, Te Ata lacks vitality, pulling its punches and sometimes resorting to a cheesy shorthand. (A scene featuring Greene’s reservation leader and a racist senator is especially cheap.) Despite that, Te Ata lingers in the memory as a tale of an artist’s promise — and fulfillment.

It’s a lovely, inspiring picture of a crucial institution; one which, as an employee describes, serves as “a warm, welcoming place that’s committed to education and committed to nurturing everyone’s passions and curiosities.”

It might not be everyone’s cup of tea, but for those who already love it, it’ll be just right.

In terms of the imaginative ways it expands on the themes of the first movie, it is the rare sequel that is at least the equal of its iconic original.

At heart, “Kingsman” is a comedy, though granted, one with abundant dismemberments and literally mind-blowing violence. And I mean “literally” in the very strictest sense of the term.

There’s plenty here to enjoy.

An enjoyably lighthearted crowd-pleaser with a serious message at its core.

Cruise and company wanted to make American Made a fun and often funny ride, but there’s something oddly joyless about the whole enterprise. Its overweening cynicism leaves a curdled aftertaste.

Thanks to Dench, Victoria & Abdul is constantly engaging and at times moving.

Stronger, ultimately, leaves its audience feeling a little stronger; we fall with Jeff, and we stand with him.

Sadly, Friend Request is not even the first movie to travel that harrowing Dead Girl Who Still Maintains an Active Facebook Presence road.

There is fun to be had here. Adults can appreciate the verbal byplay. For the kids, there’s frenzied noise, and those toys.

Sequelitis has Vaughn in its grip. The follow-up to his 2014 hyperviolent, boundlessly inventive spy-movie sendup gives the impression it’s trying a little too hard to surpass its predecessor.

mother!, for this viewer, felt long and punishing; artful yet self-sabotaging, eventually crumbling. I never looked away — but I never want to see it again.

Jolie draws restrained, naturalistic performances from her all-Cambodian cast, particularly young Sareum Srey Moch. There’s a stillness and a stoicism in her portrayal that makes her an unforgettable figure in this unforgettable movie.

Danny Strong’s film, which stars Nicholas Hoult as Salinger...isn’t terrible; it’s just one of those period films that never catches a spark — you find yourself admiring the elegantly lit rooms and the meticulous 1940s costumes, rather than becoming immersed in the drama.

Director Michael Cuesta and a platoon of credited screenwriters have dutifully checked all the usual spy-thriller boxes but bring nothing new to the party.