The resulting film offers a unique and revealing — but fundamentally incomplete — perspective on the ongoing war in Gaza.

Dracula is one of the most confounding, and worst, movies I’ve seen in a long time.

This month’s Statham movie is titled “Shelter.” And as these things go, “Shelter” is more Shake Shack than it is McDonald’s. It resembles his other genre movies in the basic form and idea, but it’s a much more high-end and satisfying version.

The sheer earnestness of director Ugo Bienvenu’s elegiac, even mournful tale feels as appealingly anachronistic as its lush 2D animation.

McAdams again proves she has real comedic chops that this island, and Raimi’s direction, have only sharpened.

At 160 minutes, “Magellan” is one of the shortest and most accessible of Diaz’s films, which for the past decade have tended to fall between four and eight hours...But the scale of the film remains resolutely epic, in part because Diaz is patient and in part because he’s insistent on telling this story of conquest and domination on his terms.

It’s a mark of creative achievement that Zlotowski’s film manages to dwell in uncertainty — about what’s really going on, where Lilian’s marbles have gone and, for that matter, why her ex is so game to chase them around with her. Still, there’s something less than satisfying about a story that’s peculiar but not exactly funny, low-key unsettling but far from provocative, and elbow-deep in dreams and memory but without much discernible revelation.

Almost every narrative choice is ludicrous. And yet, “Mercy” is also a hoot and a half.

At minimum, “All That’s Left of You” is a thoughtful exploration of how trauma can both fracture and bond a family. But for those who need it, the film serves as an urgent reminder of how ignorance and passivity undermine what it means to be human.

If you go for this kind of fare, you’ll have a good time. If you don’t, you’ll probably find it off-putting.

Fiennes anchors the film with his remarkably layered performance, relishing Kelson’s eccentricities while conveying the underlying anguish of a man losing his grip on what his life once was.

In “The Testament of Ann Lee,” we are given the rare chance to watch an exploration of a religion born instead of female pain.

Riveting and darkly comedic, the film nimbly conveys the tragedies of buying into the American Dream.

The film tells a multidimensional story of loss, where memory is both honored and exposed as futile.

Here, [Park] takes a 1997 Donald E. Westlake novel, “The Ax,” and applies it to his home country with malice aforethought. The result is an entertainment that draws blood.

This “Anaconda” never stops winking. Its juice isn’t worth the squeeze.

In some ways, this dramedy, directed by Bradley Cooper, is a familiar story about midlife crises and marital dissatisfaction, but it quickly swerves in a fresh direction, resulting in a movie that’s both resonant and hilarious.

Listening to “Sweet Caroline” feels like a hug — warm and fuzzy to some, smothering to others. Watching Song Sung Blue has a similar effect.

The Plague does an exceptional job of making viewers share in Ben’s growing sense of dread.

None of this would work were it not for the swaggering, high-wire performance of Chalamet.

From its opening shakedown to its final takedown, “The Secret Agent” wanders a world consumed by corruption.

The plot simply doesn’t have enough juice.

Brooks, whose storied career includes insightful gems such as “Terms of Endearment” and “Broadcast News,” turns in a halfhearted mess of a movie that spends its entire two-hour running time trying to figure out what it wants to be.

Goodbye June is a sweet but bland Christmas film that relies too heavily on its talented cast to make up for its narrative shortcomings — a surprising choice for actress Kate Winslet’s directorial debut, until you take note of who wrote the screenplay.

In “Left-Handed Girl,” Tsou has made a love letter to nonconformists, and to the freedom one can feel when you simply stop caring about who the world wants you to be.

What a pleasure it is to witness a masterful storyteller at work, and to see Craig lead a franchise he so thoroughly enjoys.

Eternity might start out strong, but its plot eventually runs out of steam.

As a meditative study on what’s often left outside the frame, the film is a literal revelation. It’s also a beautifully crafted punch to the gut.