What distinguishes “Girl” from most zombie pictures is Nanua’s appealing performance and a chilling scene toward the end.

Despite the stakes, Mendeluk can’t scare up any particular urgency, largely because everything is so contrived and inauthentic.

Get Out will scare you, make you laugh and perhaps make you uncomfortable. It’s supposed to.

What a pestilential little picture is Fist Fight.

The Great Wall defies any expectations — it’s absolutely bonkers wild.

Entertaining but almost too ambitious for its own sake.

The Red Turtle doesn’t answer the questions it raises, but it doesn’t need to; it’s about moonlight on the water, a hand held out to another, and the way a wave, rippling onto a shore, leaves no trace of its brief life.

If Verbinski could have trimmed about an hour from the film (which weighs in at a portly 146 minutes), he might have had something.

It’s not a terribly good idea to base a movie on a book in which almost nothing happens for 500 pages, but that’s what we have here.

A powerful new documentary.

It’s all kind of funny, actually, and deliberately so. Director Chad Stahelskii, a former stunt man, stages a flailing fight down a seemingly endless flight of stairs that is like something out of a Bugs Bunny cartoon.

You sense that a lot of the funniest stuff is flying by too quickly to land.

You feel hints of a strange energy in Emily that remind us we don’t always know why we do what we do in relationships. The hard part is holding on for the ride.

It’s not a biopic, but I Am Not Your Negro leaves you wanting to know and read more of Baldwin, to experience the language that pours from this film like a fiery balm.

The nonstop silliness of this picture leaves one choking on stifled laughter.

Every scene in this film, which stars Robert De Niro as the washed-up title character, is dragged out — kicking and screaming — far longer than it needs to be.

A haunting and lovely documentary.

I.F. Stone, an underground journalist who died in1989, left a rich legacy that is celebrated in a timely new documentary, All Governments Lie: Truth, Deception and the Spirit of I.F. Stone.

Cute and daffy enough to make your molars ache, Bakery in Brooklyn is the kind of romantic comedy that lacks all conviction.

The details of the story are often fascinating (you’ll learn a lot about burger production), and the cast find plenty of moments to shine.

What makes The Resurrection of Gavin Stone singular is its fresh and thoroughly modern approach to evangelical Christianity.

xXx: Return of Xander Cage is the movie equivalent of cotton candy: all empty calories. Excessive consumption of this product is likely to give a body the queasies.

The drama of Mike Mills’ 20th Century Women takes place in Annette Bening’s masterful pauses.

You can see why McAvoy was drawn to the role — it’s as if he’s playing every character in a very populated if not particularly well-scripted play — and he demonstrates a shellacked creepiness that’s effective. But Shyamalan can’t find much else that’s new or appealing in this overlong girls-in-peril exercise.

Driver’s performance as an uncertain man getting through the day-to-day prosaic, quietly buoyed by passion and artistic commitment, is exquisite.

For all its rough edges and gruesome touches, Patriots Day is a heartfelt and ambitious attempt to turn mayhem into something that’s emotionally valid.

Affleck sports plenty of snappy ’20s fashions, tailored double-breasted suits, often cream-colored, and elegant Borsalino-style fedoras. He’s dressed to kill for sure. Too bad his movie is so deadly dull.

The main monster communicates in noises that sound like belches. Appropriate for a picture that’s the equivalent of a cinematic burp: gassy and inconsequential.