Dhont tells a familiar story in what feels like a fresh and urgently new way, with sensitivity, sadness and promising glimmers of hope.

A serviceable mash-up of sitcom and sports flick, 80 for Brady should please fans of Lily Tomlin, Jane Fonda, Rita Moreno, Sally Field and/or Tom Brady. Everybody else might want to call a timeout.

Hansen-Love’s semi-autobiographical script provides heart-wrenching glimpses of the empathetic academic within.

The director, who is the son of filmmaker David Cronenberg, seems to have inherited some of his father’s worst excesses, which are here unleashed in a manner that is sophomoric, fetishistically violent and hyper-sexualized.

You People sounds preachy, doesn’t it? Trust me, it’s not. What it really is is a master class on wedge issues and our shared humanity, delivered by comedians who know that laughter can be at once a bitter pill and the best medicine.

Rather than a self-indulgent portrait of two amazing men and their amazing careers, “Turn Every Page” bristles with ego and good-humored tension.

Mawkish, obvious and manipulative, “The Son” is, quite simply, a disappointment, from its pat setup to its equally false — and, quite frankly, cruel — resolution.

While “Missing” is just a cheap thriller, one can’t help but wonder whether, in the hands of more inventive filmmakers, the screen time that has come to define personal interaction might find a richer dramatic purpose.

After Love, the feature-length debut from British writer-director Aleem Khan, is a quietly compelling exploration of identity, grief and the secrets loved ones take to the grave.

It’s a slight and simplistic family dramedy: vividly rendered if vaguely cartoonish in its depiction of a parent and adolescent, once close, who find themselves unable to connect.

Alice, Darling deserves praise for emotional verisimilitude and shading. It’s just a shame that, in some of its packaging, it oversells a story worth hearing.

Plane is a shot of adrenaline and fast-paced, brain-free fun.

Japanese writer-director Hirokazu Kore-eda’s follow-up to “Shoplifters,” his Oscar-nominated 2018 film about a family of liars, cheats and thieves, is, like that unexpectedly heartwarming drama, a story whose darker themes of social dysfunction and fissure are sublimated into a fable of surprising sweetness.

With skill and sensitivity, Polley turns an on-the-nose political debate into a bracing declaration of independence.

Working together for the first time since 2004’s “Finding Neverland,” director Marc Forster and screenwriter David Magee have reimagined Holm’s vision by scaling back the cynicism, softening the central character’s tragic backstory and dulling the black comedy. Yet it’s Hanks’s performance that sets this Hollywood remake apart from the original.

Living mostly avoids sappiness. And it shows an actor at the peak of his powers.

Still, for all its attractively appointed torpor, Corsage offers a provocative retort to the fetishistic depictions of Elisabeth that have become commodified in Austria over the past 125 years. It tears open the candy box to reveal something poisonous at its center.

Where The Pale Blue Eye succeeds best is in the way it shows how Edgar — yet to become the writer of ghoulish, moody atmosphere and delicious morbidity we remember — got some of his enduring ideas about the coexistence of depravity and beauty. The movie only stumbles when it succumbs, here and there, to the more trivial tropes and jump scares of the contemporary thriller.

Despite clocking in at nearly 2½ hours, “I Wanna Dance” barely scratches the surface of its celestial subject and the figures in her orbit.

Darren Aronofsky’s adaptation of Samuel D. Hunter’s play is a murky-looking, claustrophobic exercise in emotionalism at its most trite and ostentatiously maudlin.

Like so many recent films — “Once Upon a Time in Hollywood,” “Belfast,” “The Fabelmans,” “Empire of Light” — Babylon wants to pay tribute to the medium that brings us all together in the dark. But it also doesn’t miss an opportunity to alienate the audience at every turn.

Matilda...explodes with an exhilarating pleasure in filmic transformation, in harnessing the strength of one medium and regenerating it freshly in another.

For fans of wildlife documentaries, Wildcat is at least as good as, say, a rerun of “Mutual of Omaha’s Wild Kingdom.” (Google it). That is to say: It’s enjoyable while it lasts but fades from the mind soon after, all except for that little piece of a viewer’s heart that holds out hope that little Keanu — and the people who raised him — will one day find the lives they deserve.

The bar isn’t terribly high here, but Puss and company clear it comfortably, landing — but of course — on their feet.

The action in “The Way of Water” is ultimately overwhelming, betraying an uncomfortable truth about Cameron: He might preach environmentalism and balance, calling on Indigenous peoples for their gentle worldviews and material culture. But at heart, he’s just as aggressive and all-commanding as the bad guys he portrays with such oorah swagger.

Through a donkey’s large and expressive eyes, Eo shows us the beauty of the world and the cruelty of humanity.

Olivia Colman delivers an alternately delicate and ferocious performance as a cinema manager in Empire of Light, a tender, tear-soaked valentine to the ineffable joys of moviegoing.

Ultimately, the movie tells a story about two lives: complicated, filled with both love and pain, but well and fully lived.