Sara Stewart

Davidson expertly plays the role like he’s playing . . . well, Pete Davidson, which is how I imagine his career will go.

Bennett, who’s been largely off the radar for a while, is heartbreaking and, eventually, fierce as her character begins to crave change.

The idea of combining creature-feature invisibility with domestic-abuse gaslighting — playing with someone’s reality to make them think they’re going insane — is inspired. This middling horror film, regrettably, is not.

Using autism as a plot device walks a fine line between empathetic and exploitative, and The Night Clerk is wobbly in that respect.

The intriguing story behind Seberg and the always-interesting Kristen Stewart promised greatness. But this biopic squanders both; it’s a bland period piece with an irritating lack of focus.

De Wilde has a good grasp of Austen’s sense of humor, and she plays it up with some amusing bits

Keough is riveting as the vulnerable Grace.

Never seen, but often heard bellowing profanities from the other end of Jane’s desktop landline, the boss and his eyebrow-raising closed door meetings dubbed “personals” provide the menacing undertone of this day-in-the-life drama.

Color Out of Space is full-bore, glorious B-movie Cage: Cranked up to 11, spattered with gore and bellowing about alpacas.

Though most foreign films are best seen subtitled, the nonstop overexcitement of these anime performances can be exhausting. I’d have welcomed the dulcet tones of Pace, who voices Mr. Suga.

Heck, between this and “Cats,” maybe Universal is now just specializing in confounding talking-animal movies. At least this one leaves you feeling kindly toward other species, rather than freaked out by them.

Thankfully, director Miguel Arteta (“Beatriz at Dinner”) gets a solid half-hour of funny out of this thing before clunkiness sets in.

For connoisseurs of the “Grudge” series, the brief prelude of this fourth installation links it to the ones that came before. Everybody else, good luck making that connection.

Clemency is remarkable for the understanding it affords to all involved with its wrenching subject matter.

Profoundly moving and, at times, almost unbearably sad.

Like most of Eastwood’s work (with the exception of last year’s disastrous “The 15:17 to Paris”), it’s a tightly paced feature, with strong performances all around. It’s also one of the season’s most politically polarized films.

The addition of Glover and Danny DeVito keeps Jumanji: The Next Level afloat, even with barely the whisper of a plot.

The audio design of Little Joe is meant to be unsettling, but it may be for naught if audiences can hardly bear to sit through it.

Most damning of all, the dark mystery hinted at throughout is revealed so lazily it lands with zero impact. It’s long been clear that Cage has opted for quantity in his movie roles, but maybe a little quality control wouldn’t hurt.

This Little Women is two-odd hours of good cheer and lovely ensemble performances. It’s a warm fireplace hearth of a film, albeit one with a tendency to spit out fiery embers.

If nothing else, the mere sight of two popes drinking brews and watching a soccer game together is one of the more surreal things you’ll see at the movies this year.

It’s the rare biopic that doesn’t wander into predictability.

If only director James Mangold had taken the route the Wachowskis did with “Speed Racer,” which had psychedelic colors to spice things up.

The Report, true to its no-nonsense name, does the admirable work of trying to interest viewers in the way that bureaucracy can be used to hide the most terrible truths. Alas, the movie gets as buried in paper-pushing as its characters do.

Don’t let its sweet title fool you: Director Noah Baumbach’s latest may just be the best war movie of the year.

There is a limit to the redemption Nicolas Cage can grant a terrible movie, and Primal is it.

Though deeply well-intentioned, director Kasi Lemmons’ film never really breaks free of conventional biopic mode.

Norton does a humanizing job of explaining Lionel’s unusual brain (he’s got a near-perfect memory) and defusing his outbursts with self-deprecation and humor.