Mixing familiar stories with fresh insights, Zimny’s film is a portrait in restlessness, a picture of a man who has been both wildly successful and thoroughly dismissed — sometimes simultaneously.

It may well be that we’ll eventually stop looking at these Marvel films as discrete, individual experiences rather than chapters in an epic binge-watch, but even by those standards, Avengers: Age of Ultron feels like a solid but overstuffed episode, one more concerned with being connective tissue than anything else.

If this is the final Indiana Jones movie, as it most likely will be, it’s nice to see that they stuck the landing.

As a kind of twisted social commentary, it doesn’t make much sense on paper, but don’t worry: It won’t make much sense on the screen, either, but Mosquito State manages to get under your skin and also to find moments of disquieting beauty.

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.

A procedural is never just about the case, even as the inquiry barrels along. To his credit, Moll ably recognizes as much, making his procedural a fine example of the form.

It is not a subtle film, and its bluntness is occasionally potent but just as often wearying.

The writing leaves some unanswered questions, which viewers may interpret either as frustrating or as a reflection of the protagonist, who finds himself rudderless when he loses his hearing. Either way, Ahmed’s performance goes a long way in holding the film together.

Although Tommy’s Honour has clearly been made by a golf obsessive who loves the links, it’s the rare sports biography that keeps its eye on the ball of character and milieu.

Whether playing off his returning company of co-stars or swapping barbs with fellow drag comic O’Carroll, Perry’s giving one of his best self-directed performances.

So tip your the greasy, dusty, battered hat to George Miller, who is pulling off some kind of ridiculous feat by turning these grungy action movies into a grand saga.

When Ask Dr. Ruth is over, you’ll believe a human being can be as special as any computer-generated effect.

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.

There’s a lot to like about director Kenneth Branagh’s gorgeously fanciful tale.

It’s one of the great horror sequels, for about an hour. Then it’s a cautionary tale about how not to make a horror sequel, for about an hour.

So many movies play it safe and predictable that you have to give it up to Dope for making consistently bold moves — even if they don’t always pay off. This vibrant film is a bit of a mess, but it’s a beautiful one.

Good Boy is doggone exceptional when it comes to the powerhouse acting abilities of Graham and Boon, both of whom take on their roles to showcase opposite ends of the rehabilitation spectrum. But even with talent at the helm both in front of and behind the camera, Kosama’s disjointed thriller is predictable throughout and never reaches the emotionality it seeks from its audience.

It’s a shame that Lessin and Pildes don’t tell us what these amazing women went on to do after the Collective ended. But they all remain, half a century later, passionate and eloquent and thoughtful and fierce.

This sequel might lack the delightful jolts of its predecessor, but it nonetheless maintains a slow boil of terror that’s consistently unnerving.

The Woman King possesses broad appeal. It’s an oft-told tale, yes, but here imparted with a fresh angle and a meaningful moral. And it has something in store for those who prefer the action genre, too.

Designed as a horror movie for the entire family, the film has its scares, but it’s just too wacky and too much fun to be disturbing.

The performances are striking and do much to keep the film on a tightrope. Overall, though, it’s a work of robust intellectual energy and raging conflict that could come across as hectoring and even bullying. While fizzing with ideas and ideologies about cultural freedom, it’s also a very physical film, with close ups of skin — knees, toes, torsos — and the dry crunch of the stony desert.

Monster manages to sink its claws into one’s conscience, thanks in large part to the movie’s young leads—like Farhadi, Kore-eda is an astute director of children, able to shepherd their performances in ways both precocious and disarmingly innocent.

Well-researched and polished, even if it’s essentially a feature-length episode of “Behind the Music.”

Hal entertainingly reminds us, his influence as a righteous, challenging, humanist chronicler of mortal foibles — and as a filmmaker on a quest for a greater understanding of our world — remains a force among today’s more conscientious directors.

The Invisibles is a powerful testament to the remarkable courage of those forced into heroism, and to the exceptional strength of those who chose it freely.

Bracketed by genre on both ends, the middle third of this 140-minute film becomes a gentle tale about a misfit finding in a platonic relationship a kind of second chance in life. In other words, it becomes a certain kind of Tom McCarthy film — and then gets back to the overarching story.

Although The Instigators can at times feel like a Coen Brothers movie without the polish, there’s enough charm and energy flowing through Doug Liman’s picture to keep the film humming.