Is it enjoyable to watch? Hell no – there’s a reason why everybody on the screen is either screaming or crying for it to stop. But you have to hand it to Noe, because it is kind of mesmerizing in its perverse single-mindedness, and the fact that “Lux Aeterna” is only 50 minutes long makes it more endurable.

It’s disquieting, and even though it’s also riveting, it’s difficult to shake the sense that everyone is getting away with something they shouldn’t.

Lost in America isn’t exactly a cinematic masterpiece, and sometimes its prosaic filmmaking does it no favors, but the film’s ability to move the conversation forward merits attention.

Dark and unsettling, The Forgiven doesn’t ask us to like its characters, but it forces us to watch as privilege begins to shatter and people for whom everything feels inconsequential have to deal with consequences.

It’s like a National Lampoon movie where Chevy Chase is a mass murderer. That’s a great pitch, dang it, and Timo Tjahjanto throws it at 105 miles per hour.

Jurassic World never works all that hard to wow us, either with groundbreaking effects or with a story that remotely holds our attention.

Kim’s Video is so delightful because Redmon and Sabin have taken a subject that might have led to wistful dead ends and follow it through to such an extent that they wound up with a gold mine of material and a documentary that plays like a bold narrative feature.

It’s based on historical facts and real-life characters, yet it feels timeless and allegorical. It’s indisputably Harron’s best, and she deftly locates stately classicism amid the crass and the banal, and vice versa.

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.

Unflinching yet unburdened, Miss You Already is like the best kind of hug: warm, reassuring, cathartic, and a fleeting but vital reminder that there’s at least as much good in the world as there is bad.

The stakes are high and the danger is always imminent in this straightforward thriller; it never bends the rules of the genre, but it certainly delivers on what it promises.

The stars certainly aren’t acting like their participation is a mercenary endeavor. Lawrence and Smith seem to enjoy their goofy-meets-gung-ho responsibilities, and that counts for something in these types of movies, as is a tone decidedly less mean-spirited than the last one’s, and a central car/motorcycle/helicopter chase that distracts you with thrills rather than wear you down with overkill.

A cluttered mess with a boring storyline but the action is often amazing, and there’s a genuine sense of humor to all its weird duels to the death. That’s something that’s been absent from the self-serious John Wick movies for far too long — an acknowledgement of their own wackiness.

The broadness of Phoenix’s work allows the rest of the ensemble — particularly Conroy, Zazie Beetz as a single-mom neighbor, and MVP character actors like Bill Camp, Shea Whigham and Brian Tyree Henry — to dial it down and give effectively human-size performances.

The live-action “Little Mermaid” is a fresh take on a beloved classic that isn’t afraid to take a fairy tale and make it as real as it can, inviting its audience to dive into uncharted waters alongside its engaging and charming central characters.

Even when Carmen occasionally hits some narrative roadblocks with the trio of writers not knowing how to fluently weave together dance and plot, Barrera and Mescal consistently burn the screen, and our foolish hearts.

Perhaps the best thing about What If, the new romantic comedy from director Michael Dowse (“Goon”), is that for all of its banter and batted eyes, from its awkward introductions to its inevitable climactic declarations of love, everyone in it feels like a real human being.

Unfriended commits to its idea and continually finds new ways to creatively exploit it, building the tension as each character reveals his or her own dark deeds, thus justifying the brutal vendettas visited upon them.

If the children feel like symbols — sweet and touching, but not quite real — the adults provide a profusion of reality.

Mackie does a decent job of articulating his anger, and the filmmakers clearly care about the issues, but The Banker doesn’t take the narrative risks necessary to tell its story powerfully. Competence is all we get instead, and competence isn’t quite enough.

Purists may balk, but viewers who think of this less as a reboot of Dodie Harris’ memorable monster and more as a Disney spin on Derek Jarman’s “Jubilee” for gay 8-year-olds will find Cruella to be flashy fun, even at a slightly bloated two-hours-plus running time.

Roberts wraps his audience around his finger and then points us in the direction of gruesome, darkly humorous devilry.

A National Geographic special writ large, Deepsea Challenge 3D is watchable and engaging throughout, even though it's pretty clear how everything is going to come together.

An ambitious comedy, not because it’s so big but because it’s so delicate. This film could crumble at any minute. It veers dangerously from misery to whimsy to horror to hope.

As has been the case with many a horror project she’s been a part of in the past, Samara Weaving’s guttural screams can cover a multitude of sins, but even her fully embodied performance and powers can’t save a movie that mistakes stilted recurrence for high-octane throwback.

As Mama Weed makes deliciously apparent, where its iconic star goes, we will gladly follow.

Jack Quaid was born for a role like this. The actor’s unassuming cheerfulness provides the perfect comedic counterpoint to the film’s increasingly absurd gross-out action gags.

It’s a mannered and muddled take on an exciting subject, and even Taymor’s trademark flights of fantasy are fairly hit and miss.