Elisabeth Vincentelli

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.

Unfortunately, the film emulates many of its genre brethren’s inability to convert a promising start into a solid second act. . . . though a haunting finale almost redeems the flabby midsection.

A pulsating rage at the way society neglects women in particular, its weakest members in general, courses through the movie. More than the displays of flayed flesh, it’s what sticks.

The prospect of spending more time with this crew is not a bad one.

Ueda’s wonderfully tight script is divided into three acts, with the second and third parts casting the opener in an entirely new light — so much so that I rewatched it as soon as the movie ended.

The movie is middle-of-the-road rather than bad — hard to hate and harder to love.