Miike misses an opportunity to add even more resonance by telling us a little extra about each of the samurai fighting the good fight. But he's also busy shooting nearly an hour's worth of complicated fight choreography. Enthralling as that is, Miike's greatest achievement here is in giving us reason to deeply care.

It’s a movie that, by its serene final scene, changes its viewer. You leave happier, honored to have been, for two hours, part of this family.

With impeccable performances — particularly an electric, extended scene between Marcus and the college dean (Tracy Letts), and Gadon, whose wistful character has a face full of secrets — Indignation is an elegant debut for longtime producer Schamus; a visit to the past, with both sunshine and darkness.

Director John H. Lee keeps the action taut and often deeply felt when it comes to sacrifices and losses. But the script is often bogged down by deifying MacArthur.

Filmed in sepia tones to give it period flavor, infused with a sense of unrelieved tension and paranoia, and climaxing with a furious gunbattle, Anthropoid is a gripping picture.

The film belongs to Streep, who makes Florence a sweetly feathery dreamer — singing like an angel, in a voice that only she can hear.

In this bleak West Texas landscape where everyone seems to be struggling, you find yourself rooting, inexplicably, for all of them against a clear villain: the faceless, predatory bank.

The imagination in Sausage Party runs rampant, making for moments of the weirdest hilarity.

In the end, it’s all about that little girl and how she responds to the lavish song-and-dance epic designed to praise Korea’s leader, the late Kim Jong-II. Under the Sun may seem slow and hollow at times, but her emotions appear to be quite spontaneous.

Ultimately, her run and Roseanne for President! meet the same fate: not quite entertaining enough to qualify as comedy, nor quite thoughtful enough to take seriously.

A smart, wistful and very funny movie.

It’s Harley Quinn’s movie and everybody else in Suicide Squad is just a supporting character. No surprise there. That’s the way it is in the comic books, too. It’s all about personality, and Harley has that by the freight carload.

Shot in artful, quiet light (many of the frames look like elegant paintings), The Innocents is beautifully performed by its nearly all-female cast; each nun, even those unnamed, is given her own personality and story.

The laughs are sometimes bigger than expected, and so are the emotions stirred by the bittersweet finale.

A unique and satisfying new documentary.

There are moments in Gleason where it’s very hard — whether you know ALS or are new to it — to look at the screen; moments so devastating you wonder how this couple, and those who love them, can bear it. But there’s also, in this remarkable film, evidence of astonishing courage and miraculous love.

The message of Bad Moms is that being a mother today is impossible... But it’s a hammer brought down with a light, goofy touch (maybe too light; the male characters could use some punching-up), with a gleefully charming central trio that I enjoyed hanging out with.

The movie gets lost in its focus on flash and speed, and forgets about the man — and the fine, quiet actor — at its center.

Unfortunately, the filmmakers — busily splashing the film in crayon-colored light, vaguely sinister pop music and jittery camerawork — forgot to give Vee and Handsome Stranger (his name’s Ian) much personality.

The first-time director, Cesar Augusto Acevida, composes his frames carefully, using closing doorways to suggest alienation, as John Ford did in “The Searchers.” The harvesting and crop fire scenes recall Terrence Malick’s “Days of Heaven.”

It’s a small film that touches on large issues: the world of work, and how it defines us. You leave it feeling you’ve met someone, and wishing him well.

One is left with a director’s reverence for an artist’s point of view — not a terrible thing, to be sure.

A confused mishmash of plot elements featuring overwrought extraneous characters. Kids likely will love it. Their parents will just have to grin and bear it.

D’Souza manipulates viewers’ passions while telling them who to blame for their bile. As for Hillary, D’Souza asserts she wants to nationalize all our industries and steal all our money. His lack of evidence undercuts his message.

Like so many small-screen-to-big-screen efforts, Absolutely Fabulous: The Movie isn’t really a movie, just a stretched-out TV episode with a parade of cameos and boatloads of Champagne.

Lights Out is an effective, tidy little chiller; basically the same sneak-up-in-the-dark scare over and over. But hey, as we’ve learned through decades of horror movies, that stuff works.

Action scenes are so chaotically edited it’s often difficult to figure out who’s bashing and crashing into whom.

Though The Infiltrator breaks no new ground in its storytelling, it is nonetheless a riveting piece of work.