It’s a charming, light comedy that goes down easy and is distinguished mostly by how it takes the Cyrano story to high school and mixes in emojis, diversity, immigration, LGBT issues and lots of other stuff to set it in today’s world.

It’s an acerbic, tough look back, which makes it a rarity in a genre that often (and sometimes effectively) dons rose-colored glasses.

Kim’s not interested in tidy resolution, and has a strong affinity for missed connections between people who know each other very well. That’s the greatest strength of Lovesong.

Davis’ story seems ripe for a sensational, multi-episode streaming event à la "Tiger King," but in Bahrani’s thorough and tactful hands, it yields a fascinating, infuriating but eventually touching piece of non-fiction storytelling.

As a traditional period biopic, it checks all the boxes in fine fashion. But you’d never know it was inspired by a woman whose life was expansive and contradictory and unwieldy in the extreme.

Though the film occasionally assumes the airs of a slow-burning thriller, the overall product remains a firmly intellectual exercise.

Who knows if the creative team behind this sufficiently unique “TMNT” will be able to preserve this lean and sweet demeanor through the already announced sequel. But for now, “Mutant Mayhem” is a small win in the tiresome world of IP, one that doesn’t need to mutate into anything further in order to be accepted.

With Rachel Weisz and Rachel McAdams starring as its furtive, inflamed lovers, Disobedience has pedigree to spare. But the result feels wonky and lopsided, as if several crucial scenes were left behind on the cutting-room floor.

“Becoming Cousteau” could have used a little more focus on his earthly experiences.

Kendrick manages to make her film both weirdly entertaining and thoroughly disturbing.

It’s no easy task to find a fresh way to approach a familiar face, but D’Apolito does a wonderful job ushering us through the highs and lows of Gilda Radner’s life.

Hidden Figures is feel-good history, but it works, and it works on behalf of heroes from a cinematically under-served community. These smart accomplished women had the right stuff, and so does this movie.

Between the scorching chemistry of leads Tessa Thompson and Nnamdi Asomugha and the glorious mid-century outfits, hair, décor and cars on display, Sylvie’s Love is a delectable valentine.

The film is defiantly unconventional even if it does provide enough of the usual beats to give its audience a solid footing.

The Infiltrators is eye-opening on both sides: It delivers an encouraging example of the power of a united people, and it opens a window into the abuses and inhumane separations that are carried out under the guise of protecting the nation.

It’s a film that, early on, feels like a standard catch-a-rising-star celebrity hagiography, but as the story continues — and the impressive line-up of interviewees get deeper into their memories of Williams — the film achieves a balance between celebration and unfiltered recollection.

The patients, experts, and tireless doctors and activists who director Tracy Droz Tragos (“Rich Hill,” “Abortion: Stories Women Tell”) interviews are dedicated and admirable, but this documentary’s humanity comes at the expense of basic facts.

Boutefou’s performance in this delicate but wild environment is coiled and tense, but one that balances interior pain with a graceful delivery. She embodies rage, bitter amusement, longing and an emotional knowledge that comes only from decades spent with one very difficult person.

While it may have started as a spellbinding evening of theater, what Raim’s unfussy, handsomely mounted documentary reinforces is that film is its own spiritually transporting medium, with its own risks and rewards, and its own ability to turn the enjoyment of art into — what else? — tradition!

It’s a generous production, one that lovingly offers meaningful moments to every member of the cast, even the actors with only one scene.

What is says is sobering and at times disturbing, which gives the film a quiet power even if it’s at times frustrating.

Sully, an honest, skillful rumination on what makes a hero, is just one more example of how Eastwood, having directed movies only slightly longer than his protagonist had been flying planes, is still a masterful pilot himself.

For much of the film, Nolan (who co-wrote with his brother Jonathan) seems to be unafraid to allow this big-budget extravaganza to tell a story that's about pain and loss and melancholy and sacrifice. Until it's not that anymore, and Interstellar becomes thuddingly prosaic.

The story is familiar enough that it requires unerring lead performances, and though Regan has done an outstanding job working with her actors, credit must also go to casting director Shaheen Baig.

The New Girlfriend is a delicate figurine: too quaint to feel necessary in the current climate of ever-bolder representations of trans lives, and yet rescued from disposability by its delicate beauty.

Enemies of the State is a chilling watch, both for what it contemplates and for the internal path that each viewer will take while experiencing it. That some will come away from the film unwilling to accept its conclusions merely proves the film’s point.

The film is as exhausting as it is disturbing, and it’s relentlessness is in many ways the whole point as viewers spend 212 minutes looking at circumstances in which these young people, most in their late teens and early twenties, spend their daily lives.

There is truth in this story, even if the ending becomes unwieldy.