It’s a charming, light comedy that goes down easy and is distinguished mostly by how it takes the Cyrano story to high school and mixes in emojis, diversity, immigration, LGBT issues and lots of other stuff to set it in today’s world.

My Darling Vivian is an unmistakably loving and sensitive portrait, an imperfect but impassioned attempt to makes the case that the easy Johnny Cash narrative is missing an important figure, that the shadow his legend casts left at least one person in the darkness who ought not to be there.

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.

While the film sometimes seems to be stretching to find problems in every corner of the environmental movement (apparently, no company that claims to be green can also plug into the power grid), it does a brutally effective job of suggesting that a dream of endless renewable energy may be unattainable.

As good as Hargrave is at staging and shooting action, you eventually reach a point of diminishing returns in a film built around fistfights and automatic weaponry.

Flynn’s ferocious commitment to the role is something to admire, even if we’re not completely convinced.

The new Sergio isn’t as seamless or as powerful as Barker’s work in the nonfiction arena, but it takes chances and finds some real lyricism along the way.

You can think of The Quarry as a subtle thriller, but it’s more of a meditation on guilt, forgiveness and redemption in the West.

Endings, Beginnings takes a young woman who tries to be in the corner but must find a way to train a spotlight on herself — and if you have to lean in to appreciate her journey, Doremus and Woodley make it rewarding if you do.

If a movie about this band of self-described “f—ing jerks” can make you feel emotional, maybe that’s proof enough that Spike Jonze didn’t need to get adventurous with this one — the material did it for him.

The Infiltrators is eye-opening on both sides: It delivers an encouraging example of the power of a united people, and it opens a window into the abuses and inhumane separations that are carried out under the guise of protecting the nation.

At times the storytelling may make the story look and feel more interesting than it is, particularly in an ending that feels as if it rushes to find a bit of forced redemption. But Poe is an assured first-time director who has created a high-school movie that feels distinct from all the high-school movies that preceded it.

The film is at its best in exploring the gaps between dream and reality.

The Main Event is an easy enough ride for kids who are stuck at home and like to see people bash each other. Will parents want to stick it out, too? That’s a tougher question for a movie about magic that doesn’t really have too much magic of its own.

At times the humor feels elementary (and at others a little flat), but the story really finds itself when it weaves musical history into this road-trip tale in a captivating and entertaining manner.

It’s kind of a mess, a crazy balancing act that flails as often as it connects.

Dolphin Reef is a satisfying entry in the Disneynature slate, albeit one where the dolphins in the title are upstaged by some of their supporting cast, and the reef itself is even more spectacular than the creatures who get the most screen time.

If you can’t completely trust the details of the story you’re seeing, the question becomes whether the footage itself is spectacular enough to justify the qualms you may be feeling. And on that count, Elephant delivers.

The film is structured so we come away with two competing, and yet complementary, impressions. First, that our political system has become infected with a rampant and deadly corruption that has spread out of control. And second, that there is a communal cure.

Almost Love is one of those ultra-mild movies that is reliant almost entirely on the likability of its large cast.

Feeling simultaneously overstuffed and undercooked, Lorcan Finnegan’s Vivarium tries to ring a warning bell about, well, a lot of things. In the end, though, it works best as a cautionary tale about the pitfalls of filmmakers biting off more than they can chew.

Marks and Liberato are a delight, equally appealing on their own and total #FriendshipGoals together. The two are close in real life and the strength of their chemistry is, ultimately, what makes the movie so special.

There’s hope to be found in There’s Something in the Water, in the good intentions and implacable drive of the protesters.

Jonathan Jakubowicz’s drama doesn’t add as much to the beyond-crowded World War II genre as it could despite the genuinely compelling true story on which it’s based.

Thanks to Crip Camp, we can all get a window into how a struggle is unified, people are emboldened, and differences are made.

It’s impressive to see Orley mask the shiny simplicity of Big Time Adolescence in finely-calibrated performances and observant, mostly realistic dialogue, but the disguise falls apart after a while.

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).

Lost Girls is a story that works much better if you do a Google search before watching it, not after, since it offers a lot of convenient human truths, but not enough hard facts.