A road movie that, considering who made it, starts pretty far down that road, Cry Macho is familiar and loose, sometimes rattly, occasionally wince-inducing, and in a few moments genuine in ways no one else seems to know how to do anymore.

We learn in the documentary Loving Highsmith that the author herself knew plenty about the duality that defined so many of her characters.

Hawke is probably too respectful a director and disciple to challenge anything that his subject says, or even query about the vaguest outlines of his personal life.... The title is truth in advertising; “Seymour” really is only an introduction.

Gran Turismo works best because it eschews its video game origins quickly before settling into a standard race car film. It’s unknown how fans of the game will respond to the movie — no one watching the movie in this critic’s theater pointed out any specific game Easter eggs — but on the whole fans of racecar films should be in for a good time.

This crime comedy doesn’t consistently deliver, but the highs make the lows worth enduring.

The press notes for Stop-Zemlia call Kateryna Gornostai’s coming-of-age story “radical, authentic, and sensitive.” The latter two descriptors are accurate. The movie’s power, however, comes not from any radicalism but from how authentically ordinary it feels.

Little Boxes has good intentions if not the subtlest delivery.

A chilly, yet engrossing drama, elevated beyond its four-people-locked-in-a-house framework by the eerie beauty of the production design and the thoughtful curiosity of Garland’s screenplay.

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.

Landon, who wrote four of the “Paranormal Activity” films, knows a lot about reverse engineering scary scenarios from mundane situations, but as with later installments of that series, he overcomplicates the logistics and mythology of the premise, aiming for something more raucous (and fun) in tone but lacking the intensity — or inevitability — to make its repetition feel truly chilling.

The story is based on real events, which should make it even more gripping, but Abu-Assad and cinematographers Ehab Assal and Peter Flinckenberg draw the rope so tightly around the leads that the suffocating atmosphere reads almost like a filmed play. Fortunately, Abu-Assad does have two excellent collaborators in Awad and Elhadi.

Affecting at times and downright tear-jerking at others, their story is tied to the saga of gay life in America over the past 70-plus years. Still, it ends up feeling less like a history lesson and more like a universal acknowledgment: growing old with some kind of grace and peace should not be this hard.

Jones sets out to find out if sex work is empowering, but what she discovers, and what we are reminded of over the course of Sell/Buy/Date, is that vulnerability and sharing your story, in whatever form that takes, is the most empowering way to be in the world.

By the end of this captivating if unsettling movie, Foos’s unpunished criminality notwithstanding, you’ll have plenty to chew on about the nature of the relationship between journalist and subject.

Wirkola is more comfortable engaging with gunfire than people.

The film confidently switches gears into a moving character study of how life passes by while you’re busy looking like you don’t care. More interesting than the growing fissures in their friendship are the increasingly ruinous consequences of thoughtlessness as a way of life.

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.

Co-directors Gastón Duprat and Mariano Cohn would rather offer viewers a no-concept, light and breezy big-screen hangout, betting that audiences will turn out to watch a pair of beloved celebs cut loose, and that the actors’ megawatt charisma will be enough to carry the show. At least for a certain amount of time, the bet pays off.

The information presented in “Lowndes County” is absolutely vital, but all the archival interviews it surfaces make one wonder if a better documentary on the same subject exists.

Positively amusing, Night School assures Tiffany Haddish’s lift-off into comedic stardom, continues to sell Kevin Hart’s trademark persona and makes an outspoken case for supporting and encouraging individuals to accept their challenges and to work on moving forward.

Bujalski’s script does boast lots of smart, sad observations about how both money and self-improvement can lead to isolation. But the characters, while far from broad, aren’t very focused, either.

Battleground does serve as an excellent primer on the political and practical positions of both sides. But the biggest takeaway of this disconcerting documentary may come from pro-choice activist Sam Blakely, who insists that “we have to stop playing defense, and start playing offense.” Hope, it turns out, is no kind of strategy at all.

Where Suncoast stumbles is when it sacrifices specificity for generic sentiment.

Terruso has put most of her focus into the script and central performances, relying on minimalist production design and an indie rock and hip-hop soundtrack (Kil the Giant, Flipbois) that blend in rather than stand out.

Brooklyn has never looked lovelier than in Holder's soulful debut.

War is brutal and senseless and would be laughably absurd if it didn’t cause so much widespread, unnecessary destruction and suffering. Tangerines is a heartfelt reminder of that fact, but not a particularly essential one.

It’s a testament to both Matlin and the movie that we leave already anticipating the chapters still to come.

Delpy’s balancing act is an admirable and often effective one.