Yet dramatic energy is in short supply. The actors move about this elaborate movie museum in a modified dream state, as if living in the present while rooted in the past. But the strategy doesn't work. It's an imitation of lifelessness.

Makes an eloquent case for John Kerry's courage, both during and immediately after his service in Vietnam.

Of the 7,000 Jews who resisted, about 1,700 survived. The stories of these four don’t constitute high drama; there’s none of the dramatic clarity of “Schindler’s List.” But they testify to that part of the human spirit concerned with ironic humor, improbable daring and unlikely generosity.

It’s amusing but trifling; busy but at times inert. It hints at an emotional payoff but is too wary of actually going there.

An odd but agreeable little comedy.

I won't pretend to understand the movie's deep meaning--if it has one--but I can say three things for sure: Mr. Rockwell gives a brilliant performance, the physical production is impressive and Moon made me think. Four things: It made me smile.

It’s a nail-biter, a solid thriller, an immigration-themed takeoff on that old chestnut “The Most Dangerous Game,” in which humans are both predator and prey. It’s not particularly nuanced. In fact, its lack of nuance is its most distinguishing characteristic.

Fascinating — though overlong and sometimes slow.

Mr. Ejiofor gives a commanding performance, perfectly calibrated in what's withheld just as much as what's revealed.

These talented, dedicated kids aren't making believe about anything - they're making art out of shimmering illusion, intricate manipulation and blithe misdirection. (In magic, as distinct from filmmaking, misdirection is a good thing.)

Ms. Newton is the kind of performer who seizes one’s attention immediately; Mr. Allen is, by nature of the story, relegated to more of a supporting role as the narrative progresses, but he’s an amiable presence.

The production is no masterpiece. Much of the physical action is ludicrous, or gratuitous; some of the heroes’ emotional baggage is excess. But an unexpected something sneaks up on us as the story unfolds. In between the volcanic eruptions of violence and mayhem, the film takes its buddies seriously — with such outsize sincerity that we can take them to our hearts.

The documentary’s director, Linus O’Brien (son of the show’s creator), interviews fans and outside experts to piece together the still-amazing story of how “Rocky Horror” caught on.

Ms. McKenzie is terrific and carries much of the film, and director Taylor (“Sex Education”) seizes every opportunity to adorn it with period flavor, portraying Manchester and a Manchester hospital as they were 50 years ago.

Notwithstanding some clunky moments, Mr. Ansari not only engineers up-to-the-minute twists on the musty Hollywood angel movie, but decorates his story with clever dialogue and wicked observations about street-level existence in the City of Angels.

We are set up to dislike her, but we do not. We like her very much, despite, or thanks to, the potent sense of diva that lingers in the air.

Ms. Rice (“Mare of Easttown”) is the main attraction, and a revelation; her direct address of the camera grows less frequent as present-tense time catches up with her schemes, but she remains magnetic throughout.

Hardly a scene goes by that isn't visually striking or kinetically thrilling, and all of it enhanced by 3-D.

The Sessions is admirable, and often enjoyable, yet self-limiting in concept. It's exactly about what it sets out to be about - no less but no more.

Entertaining and improbably endearing.

It is thoughtful, unfashionable, measured, mostly honest, sometimes clumsy or remote, often exciting, occasionally moving and eventually surprising. It's correct.

It's a fine film, full of small epiphanies.

Chief among the movie's charms are Ms. Zellweger, Mr. Rendall--whose would-be actor Robbie is a dab hand at ­embroidery and accessorizing his stepmother--and Mr. Lerman, who plays George as a bookish adolescent with dreams of becoming a writer.

What Mr. Farrow does in his very concise, urgent documentary is track how governments and worse are using, abusing and will continue to employ technology by which they can pickpocket your personal data.

Marshall — a terrific performance by Chadwick Boseman — comes off at the outset as full of himself to overflowing. In other words, here’s an irreverent movie with a quirky ring of truth.

The film is smartly structured, and many viewers will happily cue up a repeat viewing to savor all of the matters that were not as they seemed the first time. The many puzzles and secrets and fakeouts keep things mostly amusing for two hours, and as with the first “Knives Out,” the cast is strong.

Batman Begins summons up moments of great eloquence and power. If only its cast of characters was as fully inhabited as its turbulent city.

By turns intriguing, boring, frustrating, amazing and stirring, this is a tour de force that, necessarily, lacks dramatic force, but one that creates a dream state of seemingly limitless dimensions.