Lindsey Bahr

It might not be as novel as the first, but it’s essentially harmless, if a little chaotic, fun for kids and doesn’t need to be anything more than that.

Christmas on the Square is pure, studio-lot fantasy and not really trying to be anything else.

A film like this should give life to its characters and reveal essential truths beyond the book-report versions of their existence. But Ammonite keeps you at a distance on a rather vacant, but beautiful, journey.

It’s simply telling a story about a man behind so many of our movie memories and making a new one in the process. And it is, without a doubt one, of the year’s very best.

The best thing that Holidate has going for it is that Roberts and Bracey do have great chemistry, but they just don’t have a story or a script that can do it justice.

It’s not going to be as iconic as Roeg’s, but it should provide some nice family entertainment at home for Halloween. And, bonus, post-viewing nightmares and trauma should be minimal this time.

As in any Sorkin joint there are at least three lines of dialogue that might make your eyes roll into the back of your head and your body produce an involuntary groan so extended that you will likely have to rewind. But it just goes to show how good the rest of it is that a few clunkers could stick out that much.

A quick-witted and lively debut.

On the Rocks is perhaps more conventional and modest than Coppola’s other films, but it’s no less entertaining or profound.

It doesn’t always work, but has a natural engine and spirit to it that keeps you focused.

Antebellum will inspire conversation, just probably not the one the filmmakers anticipated.

There is more good than bad in Mulan, and we should be so lucky to get a gorgeous and inspiring war epic that is suitable for children to watch. Mulan might even inspire some kids to dip their toes into all that Asian cinema has to offer, which would be the best possible outcome. But something has to give in this blind fealty to the animated films, because it’s getting in the way of greatness.

It’s a sort of spiritual companion to Edgar Wright’s Cornetto trilogy, blending horror and thriller elements with absurdist comedy.

It is a sobering and worthwhile film for its exploration of the subject of police brutality and race and how little has really changed in over a century.

In this little microcosm you see not only a portrait of some serious-minded youths, but how their world views, morals and political beliefs have been molded by what’s happening in the country. And it manages to be both hopeful and bleak about our political present and future.

A solid film with a few good gags and a fair amount of heart.

The charms of Summerland aren’t in its plot. They’re in the sentiment, which is too good-hearted to be cynical about, and the characters.

The one saving grace is King, a genuinely delightful young actor who manages to hold your attention and empathy even if her underwritten character barely deserves it.

Samberg is predictably charming and funny here. But it’s Milioti, who may be best known at this point as “The Mother” from “How I Met Your Mother” or “that girl who was in that one ‘Black Mirror’ episode,” who is the big revelation, finally getting the spotlight which has been a long time coming.

Perhaps the most striking aspect of the film is how prophetic it is. Although it doesn’t offer any reflection on the current moment, it also won’t come as a surprise how we got here.

It’s often hard to see comedies for what they are, or what they might be, on first viewing. But “Eurovision” is that rare film that strikes the right chord from the start. And, weirdly, it might even spark some interest in the actual show.

Babyteeth is an assured and stimulating feature debut from director Shannon Murphy, who is working with a script by Rita Kalnejais. It is raw, funny and often uncomfortable.

For Miranda disciples, it’s essential. For everyone else? It is a good-natured peek at the origins of this freestyle hip-hop group, which ended up being a springboard for some pretty incredible talents

It’s both a compliment and a criticism to say that “On the Record” left me wanting much more.

Rae and Nanjiani make the ride fun enough with their easy chemistry and silly, wide-eyed panic at everything they’re witnessing. Still, The Lovebirds lacks the singularity of its stars’ other noteworthy roles.

Al Capone’s last year could make for an interesting film, but there is little poetry or transcendence in Capone, and nothing even remotely close to the quietly devastating third act of “The Irishman.”

Based on Caitlin Moran’s semibiographical novel, How to Build A Girl is a wickedly funny, sweet and vibrantly told coming-of-age story that feels like a teen classic in the making.

Hallgren weaves together a compelling narrative with these public and private interviews that builds chronologically to the present.