‘The Invisibles’ Film Review: Documentary and Drama Combine to Tell Holocaust Survivor Stories

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‘Egg’ Film Review: Christina Hendricks and Alysia Reiner Carry Prickly Pregnancy Comedy

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‘The Kid Who Would Be King’ Film Review: Joe Cornish Turns Arthurian Legend into ’80s-Style Kid Romp

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‘Glass’ Film Review: M. Night Shyamalan’s Super-Trio Makes a Disappointing Team Up

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‘The Upside’ Film Review: Kevin Hart Is a Prop for Bryan Cranston’s Growth in Treacly Remake

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‘Perfect Strangers’ Film Review: Cell-Phone Secrets Cause Delicious Tension at Dinner

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‘State Like Sleep’ Film Review: Katherine Waterston and Michael Shannon Float Through Enigmatic Neo-Noir

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‘Escape Room’ Film Review: Thriller Commits to Gimmick With Style and Energy

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‘How to Train Your Dragon: The Hidden World’ Film Review: Third Time’s a Fire-Breathing Charm

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‘Holmes & Watson’ Film Review: Will Ferrell and John C. Reilly Stagger Through Stultifying Sherlockian Spoof

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‘All Is True’ Film Review: Kenneth Branagh’s Shakespeare Biopic Aims High, Falls Flat

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‘Second Act’ Film Review: Jennifer Lopez’s Charm Squandered in Tired Rom-Com

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‘Destroyer’ Film Review: Nicole Kidman Gets Grim in Karyn Kusama Cop Drama

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‘Welcome to Marwen’ Film Review: Robert Zemeckis Shrinks a True Story’s Impact to Doll Size

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‘Vice’ Film Review: Adam McKay’s Dick Cheney Biopic Shows the Triumph of Mediocrity

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‘Capernaum’ Film Review: Lebanon’s Oscar Entry Unflinchingly Examines Childhood Poverty

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‘If Beale Street Could Talk’ Film Review: Barry Jenkins Grapples With James Baldwin’s Prose in Powerful Drama

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‘The Mule’ Film Review: Clint Eastwood Drives for the Cartel in Thoughtful, Bumpy Crime Tale

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‘Mary Poppins Returns’ Film Review: Emily Blunt, Lin-Manuel Miranda Languish in the Shadow of Giants

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