Often draped over each other like a pair of gorgeous statues, O’Donnell and Corrin strike palpable chemistry throughout, selling both their desire for one another and the consequent love born out of it believably.

The Circle has a sincerity and an honesty that shames far more expensive but over-polished dramas. Plenty of movies have happy endings; The Circle shows you both the happy ending and the incredibly hard work it took to get there.

Made of equal parts mourning and melancholy, mystery, and possibly madness, the striking Tom at the Farm showcases Dolan’s abundant talents at turning seemingly simple material into a taut, tough film.

They're thematically richer and more tonally cohesive than their hybrid. But because the two films are so similar to one another, they fail to deliver on the promise of their unique structure, rendering the “he said, she said” complementary design of the two films a dull, self-indulgent gimmick.

Even with a completely unrealistic premise, and a handful of trope problems, Long Shot is still charming enough to bring the laughs, the escapism, and the twitterpation that any great romantic comedy can provide.

The unspoken joke of the title is that this movie really wants to be called “Freaky Friday the 13th,” which is not a bad starting point, but the line dividing gory violence and farcical hilarity — which Landon has skillfully walked in the past — gets too blurry for the movie’s own good.

It’s just that while you can’t see any of the strings being used on the effects, you can see the story being manipulated. You may fall in love with Ochi all the same, but you can only wish you’d gone on a richer journey together.

If incoming director James Wan (“The Conjuring,” “Saw”) falls the tiniest bit short of what Justin Lin brought to the third, fifth and sixth entries, Furious 7 nonetheless ranks a very successful fourth place overall, with at least one gargantuan set piece that ranks among the series’ finest.

Even those who object to Bowers’ revelations may find themselves unexpectedly empathetic to his life story, and that’s thanks to Tyrnauer’s compassion. There’s plenty of gossip to be found here, but there’s also no shortage of humanity.

What Whannell wants most to do is torment and eventually pulverize most of the people in his narrative orbit and make you laugh while he does so.

The Freedom to Marry is a movie that discourages complex thinking or contradiction, but there are little hints here and there of something more frightening and unstable.

What sets it apart from other overpraised festival indies is its tremendously gifted lead.

There is wit and there are explosions, and while none of them represent a step above “Guardians of the Galaxy,” neither do they impugn the memory of one of the freshest and most fun of the Marvel movies.

It’s not only his best film yet, but it’s the work he’s been building up to over his entire career.

There is some humor to be found here, of course, and a bit of exploration of the sheer boredom of being trapped for days inside four white walls, and moments of real connection between Bahari and both his family and the political revolutionaries he gets to know on the street. But Stewart doesn't pursue any of these ideas enough to stick, resulting in a film that relates incidents without ever really telling much of a story.

If this is the end of the 'Mission: Impossible' movies, they ended on an adequate note.

Ultimately this intimate, affectionate biography underscores an essential truth about the fashion industry, Talley’s work, and the life that he built out of what might seem like the unlikeliest circumstances: “Fashion is fleeting. Style remains.”

There’s a great deal to enjoy here, and fans of “Black Panther” won’t necessarily leave feeling disappointed, but there’s a sense of strong elements not quite coming together.

While Chevalier is by no means terrible, it seems like such a huge missed opportunity for an important historical figure to have finally gotten his due.

Gender inequality may be a potentially complicating factor when it comes to sexual trauma (i.e., men can also be abused by women), but that provocative conceit isn’t considered with much care or intelligence.

Though the religious component is written broadly, the impact is hardly more surreal than many elements of 21st-century reality.

If The Peanuts Movie never quite reaches the melancholy of earlier films like “A Boy Named Charlie Brown” and “Snoopy Come Home,” it nonetheless respects the importance of failure and disappointment that Schulz always included in his storytelling.

Strong casting keeps the film thriving through its many winding subplots.

“Girl” might be the most inadvertently appropriate analog to life in 2017’s increasingly unstable world, by suggesting that it may very well become necessary to co-exist with ongoing terror, especially if the only other option is walking directly into the path of a flesh-eating pack.

The Way I See It is a marvelous portrait of Souza and of two administrations that not coincidentally also works as a scathing rebuke of Donald Trump. It is decidedly not a film for Trump fans, but others may well find themselves moved and saddened by the contrasts between then and now.

No Man of God may have been written by a man, but you can’t help feeling the reason this umpteenth examination of a modern devil works as well as it does is because, as a woman, Sealey knows where the exploitation traps are and avoids them by focusing on the people in her frame, their exchanges well-paced by editor Patrick Nelson Barnes.

The balance between the humanistic and academic is way off.

Barker’s fly-on-the-wall approach eschews showy grandstanding and divisive biases. So there’s a better-than-usual chance that viewers on both sides of the aisle will find themselves moved.