By the time the big reveal comes along, it’s almost beside the point. The audience, so numbed by the gore, is likely to barely care who indeed did it.

Mostly Next Goal Wins just plods along, agreeable and familiar and instantly forgettable.

You leave the film knowing that you’ve met a hero, but that this remarkable man deserved more.

The pieces still come together to reveal a thorny portrait of how little a push it takes to create a villain.

May December is often weirdly funny.

The Killer is both disappointing and satisfying, with pleasure and competence to be had.

DaCosta whisks us through the story with plenty of wit, particularly from Kamala’s family.

If you go expecting a slightly quirky romantic drama with touches of magic realism, not to mention the pleasure of seeing Ryan in one of her rare screen appearances these days, I think you might leave happy.

It’s the kind of movie in which stories are conveyed wordlessly through a half-smile, a droopy posture, a man who looks for just a few seconds like he might cry but doesn’t — a film made all the more heartwarming for the work it takes to get to its heart.

Coppola tells the story through lush mood, meticulous art direction, swimmy music (not Presley’s) and her two actors’ gloriously big-screen faces.

As an homage to Friedkin’s movie, Green’s take is respectful and genuinely scary. Let those tubular bells chime forth in celebration.

Anatomy of a Fall is anchored by the powerfully present Hüller, who bleeds and breathes into the environment, even as she stands out.

The game, propelled by twitchy point-of-view camera work and abundant jump scares, is fast-paced. The movie is anything but.

A more self-impressed movie than Dicks: The Musical would be hard to imagine.

“Killers” is a master class in filmmaking, taught by that one professor we all had in college whose every word we hung on, and whose classes always felt too short. It’s that thing we always look for but so rarely find: a great story, beautifully told.

It wants to make a joke at its source material’s expense, but all it ever accomplishes is making you want to watch those classics instead.

There are lots of ideas rattling around in it — about artificial intelligence, about racism, about American aggression on the world stage, about the future of humanity. And rattle and clang they do. And also clunk. The various elements are not well integrated.

The gunplay is primary though there are some obligatory scenes of martial arts fights.

We may know how this strange saga ends, but Dumb Money will make you feel something, too. Whether that’s jubilation for the Davids or rage at the Goliaths, well, isn’t that kind of the point?

An engaging picture brimming with uplift.

As always, it’s a pleasure to watch Branagh’s Poirot as he watches, never missing a thing; may he return, with a more worthy corpse next time around.

The stories of growing up and finding yourself remain the same, but it’s the moving performances and specific details embroidered on this one that make it so special.

Toula and Ian are sweet and bland; their relatives are predictably wisecracky, and the whole thing just feels like watching someone’s extremely well-produced vacation video.

In all honesty, Gran Turismo isn’t much more than marketing for the video game coated with a cheer-inducing veneer. But for two hours, you, like Jann, can feel the rest of the world fall away and experience something joyful. It’s predictable yet infectious, charming if a little cheesy at times.

As Finley manages a last unassuming gut punch, it strikes painfully true. It provides one final drop of mundane dread that reveals how the most comprehensively exploitative of systems can become terrifyingly normal. Good thing that’s only science fiction.

Interspersed with the overabundant slam-bang action sequences which up the silliness factor with their increasing improbability are heartfelt paeans to the bracing solidarity of Jaime’s family. Their sincerity is the picture’s best element.

To paraphrase a song that pops up in the film — of course it does — during one of countless swoony moments, you can’t help falling in love with this movie.

Every plot twist is easily anticipated...The ending hints at the possibility of a sequel, but that’s a prospect that leaves one cold. As far as “Demeter” is concerned, enough is enough.