Elisabeth Vincentelli

It’s hard to begrudge Unfinished Business for emphasizing empowerment and sisterhood, but these women deserved more. They can take it.

You Can Live Forever sticks to a fairly common coming-of-age trajectory.

Clock is a psychological thriller, or perhaps even a satire, in horror clothing, tantalizing us with thought-provoking ideas, only to abandon them: nature versus nurture, the influence of the wellness-industrial complex over minds and bodies, the oppressive expectations placed on women — including by themselves.

A rom-com that so scrupulously fulfills every cliché of the genre, it might as well have been devised by ChatGPT.

Avery (“Samaritan”) drives the film at a pace as caffeinated as Amorth himself, and manages to incorporate legitimate scares into a plot halfway between Indiana Jones and a Dan Brown potboiler, with camp touches worthy of Ken Russell.

Welcome back to the zany world of Quentin Dupieux, a French director who cranks out (his previous film, the time-travel fable “Incredible But True,” came out just months ago) low-budget absurdist comedies with preposterous premises that he always takes at face value, no matter how demented. His latest might be his funniest yet.

Adding insult to bodily injury, the director, Tommy Wirkola (“The Trip,” “Dead Snow”), and the screenwriters, Pat Casey and Josh Miller, can’t even muster any decent set pieces. Instead, the movie unfurls as a tedious series of bloody deaths and witless dialogue.

Pereda, who also wrote the script, is not afraid of psychological and moral ambiguity: It’s obvious that she is on Sara’s side — the bullying scenes are much harder to watch than the bloody ones — but she also knows that shame, guilt and secrecy fester into messy situations and messy people.

Despite these flashes of timidity and an overlong running time, the musical is a fun romp with plenty of, ahem, killer tunes.

The movie feels shaggily shapeless, as if Rabins and Rose were unsure what, exactly, they were trying to say, or how to get to the mourning prayer that gives their movie its title — and does, eventually, provide an emotional coda.

The movie is bursting at the seams, as if Choi, in his first outing since the 2015 historical action drama “Assassination,” was drunk on pure filmmaking pleasure and threw every cinematic genre into a gigantic blender.

It’s unclear what Mandico is trying to say, if anything, and the film overstays its welcome — even the wildest visuals lose their power to stun after a while — but “After Blue” certainly is sui generis.

The pace is slacker than it should be, but still, “Fire Island” fits neatly alongside Kristen Stewart’s lesbian Christmas movie “Happiest Season” on Hulu’s rom-com shelf.

Even the sight of the two frenemies wiping out racist goons is not enough to make up for the desperately frantic action scenes (hope you like interminable car chases), joyless jokes and hackneyed clichés.

Maggio ends his story in the early 1980s, even though Stigwood lived until 2016. He is thinking small about a man who used to dream big.

[A] sluggish, blandly slick time-travel romance.

Jonathan Butterell’s film, now streaming on Amazon, is a charmer, every bit as sunny, confident and ultimately compelling as Jamie himself.

This amiable production’s temperature never rises above lukewarm: good sentiments are, unfortunately, difficult to dramatize, an issue compounded by a score that can feel like aural wallpaper.

Charbonier and Powell, themselves childhood friends from Detroit, focus on the boys’ allegiance to each other with an unwavering focus. This intent minimalism is also why the movie does not transcend its virtuosic, almost abstractly taut storytelling.

Much of the footage is hair-raising, especially the women being groped and the mobs of young white men whipping themselves into a frenzy of aggressive stupidity, aimless anger and turbo-boosted misogyny. This is these dudes’ coming-of-age as an aggrieved demographic, and it’s frightening.

There is no getting around it: Mark Raso’s Awake is bad. But at least it’s so bad that it’s often ludicrously laughable: Netflix may well have a cult turkey on its hands.

Roy grows as a killer over the course of the movie, which involves an increasingly tedious amount of repetitive violence played for laughs — he’s like Wile E. Coyote, brushing himself off after falling off a cliff or being blown up.

Shook is done in by its final reveal, which manages to be simultaneously improbable and conventional. For engagement, we’ll have to look somewhere else.

In & Of Itself reframes familiar tropes like card tricks, vanishing objects and stupendous feats of mentalism to new ends. It is not often that a magic show makes you ponder not just the how, but the why.

Violent, law-defying cops would be a tough sell at any time, but “Rogue City” is oblivious to the changed context surrounding their stories. They don’t hold much romantic allure nowadays.

Schreck succeeds in widening her autobiographical play into a paean for basic fairness: The American Constitution, admired as it is, fails to protect all of us from violence and discrimination.

After a dillydallying slow start, Brown ratchets up the tension efficiently, summoning a mix of gross-out body invasion, eco-mutation and large-scale cosmic dread on a small budget.

This impressively lean French thriller wastes nothing in its quest to deliver the goods.