It’s a daring mix of genres, but it works, as though Noah Baumbach had been called in to do a rewrite on “How to Steal a Million.” Steven Knight wrote and directed one of the best (“Locke”) and worst (“Serenity”) films of the last decade, but when he is good, he is very, very good, and his skillful handing of relationships and claustrophobia and corporate-speak is matched by Liman’s ability to bring all of this to fruition.

Perhaps the biggest issue for The Mauritanian is that the screenplay by M.B Traven and Rory Haines and Sohrab Noshirvani tries to accommodate too many protagonists.

Neeson has certainly starred in worse action vehicles than The Marksman, but rarely have they been more forgettable.

The White Tiger illustrates the extremes to which the poor are driven to violate the rigid class structure of India, with the implication that our hero and his methodology is perhaps the face of post-superpower capitalism itself.

Shadow in the Cloud has that boisterous B-movie energy, and it’s a reminder that narrative shamelessness is permissible, even welcome, in the hands of an assured storyteller.

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.

On its own terms, Monster Hunter might work as silly, frenetic entertainment, if you don’t look too close or think too hard. But if looking and thinking are on your agenda, you might also leave it with a real headache.

For most of its running time, it has a palpable B-movie energy that gives a little oomph to the umpteenth cinematic portrayal of humanity’s end.

While the reteaming of Gal Gadot and director Patty Jenkins provides the expected thrills and excitement, this sequel shares the significant flaw of its predecessor: Both films graft an unwieldy and effects-heavy finale onto a movie that had managed to create relatable characters and situations, even when both are larger than life.

It’s a drama rather than a comedy, so call it a rom-dram – and if that phrase seems slightly dismissive, it’s appropriate for a movie that plays up the sentimentality and never escapes the feeling that it’s a light look at a heavy subject.

The film is deliberately and at times deliriously scattershot, jumping from one subject to another and rarely slowing down to draw connections or make larger points.

It’s a gentle journey, and a times a frustratingly uncertain one, so tentative as to almost float away beneath the often luminous images.

As Zappa makes clear, Frank Zappa spent his whole career keeping himself unique, often to his credit and occasionally to his detriment. Winter’s movie does the same, in a way that does justice to a guy who’s not easy to do justice to.

The film skims over much of MacGowan’s post-Pogues career and doesn’t include any old bandmates talking about him. It’s not the Shane MacGowan chronology; it’s the Shane MacGowan experience. And that’s a tough, heartbreaking and inspiring experience.

News of the World nestles comfortably not only in the canon of the Western but also among the films by European artists who make a movie in the United States and find themselves overwhelmed by all that space. To his credit, Greengrass finds an emotionally engaging way to fill it.

It’s not inherently misguided to use a current tragedy as the jumping-off point of a genre movie, but any filmmaker who decides to do so had better create something provocative or interesting or at least competent to justify it.

Whether or not the word “whimsy” makes you flinch is probably a fair indicator of whether Wild Mountain Thyme is for you, but if you’re looking for the cinematic equivalent of a hot cup of tea on a blustery day, you might find yourself developing a taste for its particular brand of quirky romance.

There’s a lot that’s frustrating about George Clooney’s new film The Midnight Sky, from its egregious borrowing from any number of better movies to its pacing issues, but thanks to a few grace notes, its shortcomings are mostly forgivable.

McQueen and co-writer Alastair Siddons capture that sense that the children of immigrants often have of living with one foot in their adopted country and one in their parents’ homeland.

While Let Them All Talk doesn’t quite have the snap of Soderbergh’s “High Flying Bird,” it’s just as much a film of ideas about talent and commerce and the responsibilities of the rich and powerful. And with a cast as talented as this one, the title itself provides a guidepost for how to tell this story.

Murphy keeps the story electric-sliding along so that we don’t have time to linger on some of its shortcomings. His real achievement is making “The Prom” feel like a film rather than a captured-on-camera stage production, one that still retains the let’s-put-on-a-show energy of live theater.

For the most part, Godmothered is a mixed-bag of clever comedy and banal kid-movie clichés, but director Sharon Maguire (“Bridget Jones’ Baby”) and writers Kari Granlund (2019’s “Lady and the Tramp”) and Melissa Stack (“The Other Woman”) craft an ending that’s so emotionally and intellectually satisfying that it’s easy to forgive the film’s less magical attributes.

The current results don’t necessarily redeem this troubled film, but seeing it again might remind audiences that it’s better than they remember. Certainly, this time out, it’s better than it’s ever been before.

The title promises disaster, and the movie delivers: Love, Weddings & Other Disasters is a witless, charmless, barely-written, indifferently acted, hideously shot, and generally odious waste of 90 minutes.

Even as its lead character endures physical and psychological torment at the hands of authorities, the film is very much of a piece with the ebullience of “Small Axe,” as the ongoing themes of community, music and defiance play a huge role in the story.

In Superintelligence, an average human being must convince a sentient AI program not to wipe out humanity. Lucky for all of us, the film Superintelligence is not entered as evidence that our continued existence is justified.

Those moments that land, whether funny or moving, occur when Ball isn’t getting in his own way and instead trusts in the characters he’s written and the actors who are performing them. Overall, the film works, but there are times during this road-trip saga where one wishes Ball would apply the brakes.

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.