Lost Girls is a story that works much better if you do a Google search before watching it, not after, since it offers a lot of convenient human truths, but not enough hard facts.

Whether the love story completely works or not, ChaO is such a visual wonder that it hardly matters.

With its combination of workplace sitcom and social activism, Barbershop: The Next Cut feels more like a binge-viewing of multiple episodes of a TV series than a movie, but even on that level, it’s a show worth watching.

The Book of Life manages to be genuinely surprising and engrossing.

What truly anchors Save Yourselves! is the specificity of the two leads and the sharpness with which Mani and Reynolds perform the roles.

The Contestant wants you to be entertained and it wants you to feel bad about being entertained. It pretty much succeeds on both counts.

Ferragamo’s story is a complex intersection, touching on early-20th-century immigration, youthful ambition, the dawn of Hollywood, passionate artistic hunger, tenacity, foot fascination and wild innovation.

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

The film doesn’t take an extra step towards cinematic showiness, nor does it glamorize or sensationalize Berg’s life. It’s just a nice time talking about World War II and baseball, sharing stories and retelling old jokes. It’s a respectable ode to Berg’s unusual, remarkable life.

Mr. Holmes may not be the biggest or boldest recent updating of Sherlock, but McKellen’s performance alone is almost reason enough to see it on the big screen.

When viewed with both eyes open, Worth is a thematically confusing motion picture, no matter how good the acting is. If the film exists to sell us on how great the fund was, it blew it, because we’re left with troubling and unanswered questions. If the film exists to raise those questions, it cops out by resorting to treacly melodrama. And it cannot effectively do both.

Unlike “Spy,” which took great pains to make its cloak-and-dagger shenanigans as exciting, and thematically meaningful, as the raucous comedy around it, A Simple Favor is like two different movies, a sophisticated sisterhood lark you want more of, and a ho-hum buried-secrets murder mystery getting in the way of your good time.

It’s easy to appreciate the ambition of Gaines’ new take on Dutchman, but the original tale is fighting back, and it’s got the upper hand.

By the end, a part of the experience makes one wonder what sharper point Kravitz is trying to make beyond the obvious ones — and it’s clear she wants to say something — while another part simply wants to lean into the audacious experiment she’s crafted. One where the film’s tart bite is remarkably thrilling, even if there’s some hollowness to its center.

It’s cohesive and cathartic enough to make a fourth entry unnecessary, but at the same time, it’s entertaining and gorgeous enough to make the prospect of same something to welcome.

A film about adult problems that preys on adult fears, made for audiences with an attention span and high standards.

Giving the film credit where it’s due, Wonder never cheats in its pursuit of emotion. It’s never mawkish or manipulative, and its characters are so well-established both in the writing and in the performances that the movie ultimately does the hard work of earning those damp Kleenexes.

What Coogan and Brydon are doing in these films is an acquired taste, but if they want to continue on doing them then they’re going to need to cut down and edit their interminable actor impressions.

The Wind might not quite succeed as a frontier-set “The Witch,” but it certainly signals the arrival of a promising talent bound to find her voice in due course.

A unique take on one of the most painful and important parts of being human, the film is original and honest. Even knowing very little about the traditions of Hasidic Judaism, it was easy to relate to the very human element of finding a connection that ultimately leads to healing.

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.

Earl and Hayward developed these characters first as a live stand-up show and then in a short film, and natural chemistry and cheeky rapport make “Brian and Charles” a laugh-out-loud comedy.

It’s all great fun, even if there’s no central performance as riveting as Cho’s in “Searching.” Then again, acting in movies like this is an admittedly uphill battle, one that Reid is better at when not having to rely on the occasionally tinny dialogue. Long, Leung and de Almeida, meanwhile, fill the tapestry of intrigue efficiently and appealingly.

There’s a goofy spree of a movie buried deep within Sausage Party, but it’s missing both the spree and the goofs. This comedy needed to be a lot smarter if it wanted to succeed at being this stupid.

Come for the city-flattening; stay for the political satire.

The Pass is finally nothing more than a modest stage adaptation and a vehicle for Tovey, but on that level it is focused and skillful.

The heart of the film is in the connection between a 12-year-old boy and an 86-year-old woman, and Loren and Gueye make that relationship rich and touching enough to give life to the movie that surrounds it.

Though Peterloo brims with 19th century authenticity, from its hardscrabble interiors and stately halls of power to the quiet beauty of its rural scenes, it’s no costumes-and-decor drama — Leigh’s focus is on the rhythms of talk in all the ways it influences: as rant, argument, posturing, strained politeness, open skepticism, and full-on performance.