None of its core characters, including the female protagonist (played by Florence Pugh, “Fighting With My Family”), make any rational decisions (while being too distant to care about anyway).

Even as it’s not Ramsay’s best film, even a minor work from the filmmaker is still better than just about any other director. There remains a haunting power that she’s able to wield over her audience.

The action climaxes with a truly impressive finale, one that employs time going in multiple directions that’s like nothing I’ve ever seen in a movie before. The effects shots here aren’t just visually impressive; they actually let the narrative go to places it couldn’t without this level of, you’ll pardon the expression, wizardry.

It’s a film about a bleak and cruel universe that is unkind to victims and eager to ignore reasonable pleas, a world that has a conscious and subconscious vendetta against women in general. It’s also a film that thinks it’s entirely possible to destroy that world, as terrifying as it is, and ultimately, it’s the movie’s principled strength that endures.

The Suicide Squad is by no means perfect, but like the “Deadpool” movies, it’s a showcase for what can happen when a superhero movie is allowed to be sprightly, self-aware, and sardonic while also indulging in hard-R violence, gore, and language. Gunn’ latest creation is not without moments that drag, but when it pops, it pops brilliantly.

It’s not the predictability that’s disappointing as much as the pat resolutions and emotional fixes provided to Anna. If you’re going to set up a young character who’s this complicated and in this much pain, you owe her a similarly complex catharsis.

With Cousins’ wry thoughts on the films and some reflection of the meaning of it all, The Storms of Jeremy Thomas provides a colorful and entertaining canvas for some beautiful and beautifully set-up movie clips — you want to rush out and watch all of them again.

However depressing 'Rosemead' is, and it’s depressing in all italics, it’s just not deep enough to make running this gauntlet worthwhile.

There's an extraordinarily tough and smart delicacy to Still Alice, and it stretches far beyond the writing or Moore's performance or even the sympathy of the circumstance.

Didion speaks very bluntly here, and sometime shockingly.

Layered images, un-erased pencil strokes, odd color blocking, jagged edges, heavy lines, painted frames with visible brush strokes, juxtapositions of marker, crayon, and charcoal, collage techniques, photographic effects, a set of psychedelic human lungs: this is is low-budget ambition firing on all cylinders.

The surprise here is that Rosefeldt has managed to deliver an intellectually-charged, cheeky, and very funny film that feels unruly and expansive in spite of its tight 12-day shooting schedule and its focus on just one performer.

The Incredible Jessica James is an enchanting, deftly-written and witty movie for lovers and haters of romantic comedies, as well as for all those in between.

Everlasting Storm is an anthology film that is as uneven as most anthology films, but one that offers a disquieting and essential snapshot of the time from which we hope we’re emerging. Like the lockdown itself, it can be a slog and it can be a kick.

It’s both a tour de force for a cast led by Thomasin McKenzie and a sign that Oldroyd hasn’t lost his unsettling touch in the seven years since his last film.

The Shrouds is sober, serious and profoundly sad Cronenberg. It’s still a hell of a ride, but it’s going down a road where there’s a heavy toll.

It’s a great sports movie about the urge to be great at sports, and it’s one of the smartest movies the genre has produced in a long time.

There’s no extraneous storytelling here, no scene that feels unnecessary, no scary moment that plays like it’s pandering. This is the expertly told, horrifying story of an abusive relationship filtered through the lens of a classic horror movie monster.

With Pattinson glowering beneath his cowl, Reeves creates a Batman whose psychology is at least as interesting as his crime-fighting activities, for the first time in a long time.

Arctic has the do-or-die chops to affirm Mikkelsen’s rugged allure, as well as its young filmmaker’s sensitive-showman promise.

The actors are so committed, and the script so heartfelt, you’d have to be a villain to resist this group’s superpowered sincerity.

What Tyrel lacks in substance, Jason Mitchell more than makes up for in his performance. He is thoughtful, precise, vulnerable and authentic, and even in as flawed a film as Tyrel, he is an absolute joy to watch.

This film, though not formally revolutionary, is the type of defining, delicate portrait that moves beyond the often tiresome trend of music documentaries that simply shower praise on their subjects.

The canned British character study Mogul Mowgli disappoints on a few levels, especially given its admirable focus on authenticity and cultural identity in a kitchen-sink drama about Zed (Riz Ahmed), an aspiring British Pakistani rapper.

The romance of patriotism and pain, depicted here in lush greens and velvety blues, makes “The Imitation Game” enjoyable enough to render it a vindication of the formula. It disappoints as biography, but makes for a great yarn, even if you've heard it before.

As a 20-minute short or even a 50-minute TV program, London Road might maintain its sharpness and its potency, but as a feature film, its cleverness wears a bit thin and its messaging gets too overblown.

As a document of a special creation, Maria by Callas is very nearly enough, thanks in no small part to that generous helping of footage where she fulfills that very destiny. It’s a powerful reminder that private walls can stay put when she’s singing Bellini’s “Casta diva,” that the music is more than enough, that we can let the mystery be.

Even if it was long overdue, or maybe precisely because it was, “Black Widow” still felt like the remnant of a timeline before heroes had reached total market saturation. “Shang-Chi,” by comparison, feels like the new beginning that its predecessor was meant to be, as much as anything, because it truly ventures in a new direction — building distantly on the world that has now become common moviegoer knowledge, but adding stylistic flourishes and an unhurried pace from Cretton that suggests it’s content to be its own story instead of a cog in a larger machine.