Childhood: courtesy of Mr. King. Filtered through the pedestrian sensibilities of director Andy Muschietti, who seemingly never met a horror-movie cliché he couldn’t incorporate into his adaptation of King’s thousand-page-plus mega-opus.

What Warner undergoes in Crown Heights is difficult to watch. Yet in the end, remarkably. there is triumph. And, finally, justice.

The “Trip” movies, like the anchovies Coogan and Brydon happily devour, aren’t to everyone’s taste.... But oh, those impressions.

Bell can sculpt a funny moment to polished realization, but deprive it of oxygen at the same time. It’s not until late in the film’s third act that a different feeling emerges, a looser hand that provides room for characters to be more warm and human than pieces in a constricted design.

Pattinson keeps you interested, even when the movie’s tone and pace wobbles.

There are some fleeting moments of inspiration — the music by Rob Simonsen is a master class in sudsy melodrama, and Nixon turns in a great performance — but The Only Living Boy in New York is rotten to its Big Apple core.

Director Matt Spicer...is dealing with some fairly obvious themes; i.e. everything on social media isn’t what it seems; living your life online isn’t necessarily a good idea. But he finds much wit in the characters, and in the wicked fun the actors are having.

Reynolds is playing what amounts to the straight man to Jackson’s bad boy, and the back-and-forth between the two, with his character stewing and steaming in exasperation at the killer’s taunts, gives The Hitman’s Bodyguard its special fizz.

Soderbergh keeps the action light and playful, and lets the cast members find their own silliness within it.

Whose Streets? marks the filmmaking debut of Folayan and Davis, and it’s charged by its personal touch.

An irresistible NASA instant classic about the conquest of space — via the Voyager missions.

Freidel illuminates the inner struggle Elser goes through as, buttressed by his conscience and his Catholic faith, he finds within himself a strength of character and brave defiance that defines him as a hero in the truest sense of the word.

You have undoubtedly seen many films that cover, generally, about the same territory as Taylor Sheridan’s Wind River.... But you probably haven’t seen one quite like “Wind River,” a movie less interested in examining the crime than in uncovering the icicle of grief at its core.

Filmmaker Destin Daniel Cretton (“Short Term 12”) can’t quite find that magical balance that Walls hits, and tilts the story too far toward sentiment.

The film is inspiring and funny and lovely.

In the vast canon of King-derived movies, “Tower” belongs in the upper ranks.

Kidnap has a tossed-together sameness to it, like a salad made up only of tired lettuce.

Bigelow has a way of making scripted drama feel like an utterly gripping newsreel. That’s not necessarily all to the good — I found myself wishing for more character development — but you can’t deny the power of the filmmaking.

An Inconvenient Sequel is both a rebuttal and a rebuke to the voices who vociferously disparage him and his cause.

Pugh, a young newcomer with just a tiny handful of film credits, gives a performance of rare ferocity.

While it’s still an enjoyable novelty to spend time during an action movie wondering where I could buy the hero’s boots, it’s no substitute for a good story.

Restless Creature isn’t a mere celebration of a great artist; it’s a moving portrait of what happens when that artist confronts the possibility of not being able to make that art any more.

What’s fun here is both the easy charm of the four women (two of whom have a long screen history together; watch for Smith and Latifah in a shout-out to 1996’s “Set It Off”), and the range of comedy styles they display.

Those fascinated by the art of animation will find much to ponder here — the hand-drawn brush strokes, the lush colors, the way just a few quickly sketched lines suddenly take vivid life.

Compared with Weerasethakul’s acclaimed features, it feels cobbled together and improvised, which for the most part it was.

Dunkirk succeeds spectacularly both emotionally and visually.

The protests that lead to the overthrow of a president carry hard-to-avoid echoes of recent demonstrations in the U.S.

Score, directed by Matt Schrader, breaks no new ground in the art of documentary — it’s mostly talking heads — but it’s an enjoyable walk through the art and history of the film score, with dozens of contemporary composers lending their voices.