It hasn’t always been easy trying to figure out what’s going through the mind of the 44th president of the United States, but Barry is a satisfyingly curious, honest attempt to make his inner struggle a beautiful part of this groundbreaking statesman’s biography.

While the minions are certainly little, yellow and different, Minions has probably mined them for about as much comedy as they can provide as leading men.

Since making his debut with “Zombieland,” director Ruben Fleischer has developed an aptitude for cheerful proficiency (if not a ton of discernible personality) that he deploys to great effect in this brisk pastiche, especially with Tom Holland and Mark Wahlberg bickering their way through one set piece after another.

Perhaps this is Gilroy’s way of working out his own idealism. It’s a nice thought even if it doesn’t entirely work dramatically.

The tone and the plot take some time to settle, but once they’ve hit their stride (and adults decide to surrender their senses and go along for the ride), the bird and pig unit become almost affable in their daftness.

The best that can be said for 'Day One' is that if this is your first A Quiet Place, you’ll probably get swept up in it, and want to watch the other two.

Gripping, smart and genuinely thrilling, Black Sea elevates itself above most other thrillers by how wisely and well it brings you down to the depths alongside its crew.

He offers glimmers of what lies beneath the near-mythic, elegant exterior, but Larrain’s take is more impressionistic than revelatory, more presumptuous than knowing.

Sleight is slight in the good way, because it floats along and draws your attention instead of yanking it by the collar.

It is rare to find a film that reflects its subject so insightfully, in both an artistic and thematic sense.

There’s nothing groundbreaking here, but it’s a perfectly enjoyable continuation of the story that introduces new players into the ensemble and literally expands the world of Zootopia in a mostly entertaining and meaningful way.

The Ghost of Peter Sellers is a movie that seems to have been made by Medak, for Medak. It’s a mildly interesting footnote in cinema history, and worth watching for Sellers fans, Medak fans and aficionados of obscure cinema (you know who you are).

With this determination to eschew simple explanations, to avoid being reductive about the cause and effect of an artist’s work and life, and to remain true to the cloudy circumstances surrounding Pasolini’s murder, comes a troubling directorial decision to turn the man’s death into a symbol — of what is unclear.

Lady Boss offers the story of a woman with a lot going against her who struck a blow against the sexual double standard and struck a blow for women seeking pleasure for its own sake. Her fight to achieve that goal often makes for a compelling story in its own right.

The Sisterhood of Night is too messy to qualify as a great film, especially when it begins introducing, in passing, peripheral characters who survived rape and incest, but it certainly isn’t muddled.

Gelb’s documentary gives viewers an overview of who Lee was and what made him tick, but mostly within the context of comics.

It’s a mostly enjoyably overstuffed model kit of adventure ingredients: talking dog heroes, an intrepid boy aviator, an outspoken girl reporter, garbage playgrounds, mechanical worlds, robot peril and mischievous humor. It’s even, for this director, tantalizingly political, venturing into dark territory about such utopia-bursting ills as bigotry and authoritarianism.

Directors Joe and Anthony Russo move their many playing pieces around with as much grace as possible, and they offer up jolts of pleasure throughout.

The cast is just as game for the broad humor as it is for the emotional beats; the latter’s familiarity doesn’t detract from its poignancy.

Despite having an emotional arc that becomes evident within its first few minutes, Luck registers as original enough conceptually to maintain one’s interest as we follow the formulaic structure of its screenplay. The resulting fable feels like a typical case of “you’ve definitely seen this before, but not precisely in this manner.”

Renoir is a coming-of-age story that doesn’t care much about lessons learned or milestones reached. Instead, it meanders for its two-hour running time, filled with lyrical moments that are belied by grim undercurrents.

The more commercial way of doing this story would have been to make Pat into a flinty and sassy guy no matter what, but Stephens chooses the more realistic path of making him into a person with flaws and a great deal of vulnerability, almost to a fault.

Annabelle: Creation is a professional jitters-fest, made with deep-seated esteem for the genre rather than cynicism about a box-office sure thing.

It’s a well-intentioned comedy with funny performances and a handful of great humorous set pieces. If it feels as though it’s three or four different movies fighting each other for dominance, then at least those movies are all, in their own separate ways, relatively entertaining and amusing.

Part throwback, part update and a little bit creaky, it’s all-in-all an excellent showcase of Izzard’s wonderful talents.

Sedgwick and Bacon are visibly delighted to be together, and we buy Cynthia and Stan’s connection even when it feels underwritten.

It’s an earnest, heartwarming, and vivacious look at the realities of parenting and a celebration of the warmth and love in unconventional lifestyles. At the same time, Firstman often gets in his own way, commandeering the film to act as PR (or damage control) for himself, rather than following the natural path of this unvarnished story.

Ritchie’s reunion with leading man Jason Statham delivers the scheming, the shooting, and the swearing that the director’s fans have come to expect, by the bucketload.