There’s enough gore, mayhem, and decay in Army of the Dead to make for a satisfying zombie-movie experience, and while it’s the best film Snyder has made since his last “of the Dead,” it’s also one that continually hints at the more satisfying work it might have been.

You’ve got to appreciate a movie that doesn’t take itself seriously. And, man, Fast & Furious Presents: Hobbs & Shaw is definitely about as ridiculous as a movie can be, for better or worse.

The filmmaking has a certain paint-by-numbers frankness that works in some ways, not in others.

For the millions of true believers out there, however...the film provides a blissfully melancholy roll call of pleasures.

We can, thanks to movies like this one, continue to bear witness. But we will never truly know the reality he tries so hard to unearth, and that remains our burden to hold.

The movie’s real showcase gold lies in the magnetic appeal of screwball comedy natural Erskine (Hulu’s “PEN15”); she’s a major talent who rightly runs away with the movie, conjuring in the viewer’s head a constellation of wishful star turns to come.

A tightly-drawn Bullock is fully in tune with Ruth’s pain, making her extreme introversion an evident side effect of trauma rather than personality. Because Ruth keeps so much inside, Fingscheidt uses every element to create a sensory connection between this difficult character and the audience.

While this new “Dragon Ball” spinoff may not be all things to all viewers, it’s also a thrilling showcase for Toriyama’s beloved characters.

This impulse to do less, to avoid excess, is admirable — something the current wave of Conservative Evangelical filmmaking could bear to emulate — but in the end it reads as timid, eventually making “Last Days” feel small and insignificant, hobbled by its own restraint.

The truth is that even at 71 minutes much of this film feels padded, as though Stigter couldn’t let go of the subject but also wasn’t sure how to expand it further. Because Kurtz’s concept is so moving, however, the film retains much of the power he brought to his book.

Lighthearted in tone yet intellectually intriguing, the L.A.-set film ponders valid queries about identity, even if they’re almost entirely sustained by dialogue.

Unlike the first half, which felt like a fresh look at Biblical events from an unfamiliar POV, the latter section simply recreates the end of the Gospel of Matthew with little of the urgency or humanity that fueled it before.

Alone Together frequently hints at Holmes’ gifts as a storyteller, so it’s disappointing that she has a proclivity for romance-novel fodder. If she could have workshopped the script somewhere and honed in on authentic feelings outside conventional narratives, she has the potential to be taken more seriously as a filmmaker.

Road House is a mixed bag of blockbuster punches and quirky set pieces that give way to hyper-masculinity in the modern world.

There are a couple of impressive set pieces in Jigsaw, but the traps seem fairly rudimentary, and it’s up to the camera work to provide the needed jolts.

It’s impossible to remain unmoved by the many contrasts Abbasi carefully arranges.

The United States vs. Billie Holiday never completely works as a drama, but it does ultimately succeed in two important ways: The film provides a launchpad for Andra Day’s exceptional acting talents as well as her gifts as a singer, and enriches the public understanding of Holiday’s persecution, funded by taxpayer dollars, for daring to speak truth to power through her art.

The story of a woman dismissed by those around her who asserts herself through art testifies to the indomitable power of creativity. Why turn that compelling story into a predictable romance?

Although this single-minded existence will fascinate and inspire devotees, anyone new to the details of her life is likely to be left wanting more. Even so, all will be moved by the honest approach Dion and Taylor take towards her illness.

Whether you laugh with I Love My Dad or never shake the queasy feeling in your stomach, Morosini’s film is remarkably sensitive and eerily confessional.

This new movie feels more like a series of sketches that all happen to revolve around the same handful of characters. That said, those sketches are fairly funny, and if this comedy has all the depth of a summer jam, it will eventually be the kind of late-night download that will inspire giggles for years to come.

The sturdy but shallow martial arts melodrama Ip Man 4: The Finale isn’t much more than what fans have already gotten from the popular action franchise.

Serving as the anchor to a drama that otherwise frequently holds you at a distance, Melliti gives an understated yet riveting performance as a young woman finding her way in the world. The film lives and dies on her shoulders, making it all the more exciting to see her carry it with such nuance.

Even when the movie stumbles, Hudson’s bravura performance — and those extraordinary songs — steady its soul.

Whether we read about someone like Hasna or watch such a sad journey dramatized, it’s worth being reminded that stories like these always leave behind many who are forced to reckon with a society’s notion of what and whom they resemble.

Hill’s made an unabashed love letter to a particular decade, sure, but also to a specific moment in everyone’s life. And while he undercuts his own movie by romanticizing even the most extreme experiences of lost innocence, the purity of Stevie’s longing makes the movie’s wistful fantasy understandable.

What saves Tallulah from American indie sameness and its allegiance to neat resolution are its three lead actors and Heder’s apparent skill in bringing out their best work.

As tragic biopics go, The Electrical Life of Louis Wain isn’t interested in wallowing in misery. Instead, this amusing retelling of Wain’s life is a way to introduce his quirky illustrations to a new generation, putting them in a new light that’s more in line with the irreverent and animated creatures Wain once imagined years ago.