Owen Gleiberman

Mutiny was directed by Jean-François Richet, who made the pretty good Gerard Butler movie Plane, and here, once again, he shows a flair for staging extreme misanthropic violence with a human touch.

The End of Oak Street is preposterous, but it’s also unrespectable fun. It allows the summer movie season to end with a gasp instead of a whimper.

It’s all worked out on paper. Yet the film is missing something: the delirious fizz of true anarchic bedlam.

Cookie Queens understands that all of this is a bit funny; that’s why it keeps punching up the action with an annoyingly cute musical score. Yet the film, which counts Meghan Markle and Prince Harry among its executive producers, is so focused on each girl’s odyssey of selling that there’s virtually no other dimension to it.

Wild Inside is an enchanting movie, and a haunting one too.

Asher has a track record of achievement, but he’s also someone with major boomer vibes; he’s got an aura, a mystique, a history of associational cool. “Everywhere Man” is well worth seeing, as long as you go in knowing that it’s a bit too infatuated with its subject, in that rose-colored Boomers “R” Us way.

With Ice Cream Man, Roth tries to go “over the line” in a way that’s shamelessly derivative, jaw-droppingly bare-bones basic as filmmaking, and way too ludicrous to scare you. The movie wants to be a lark, but it’s such a preeningly garish and ham-handed piece of shock theater that it makes "Thanksgiving” look like “Vampyr.”

To me, one of the most pleasurable things in movies is that moment when you see an actor become a movie star. That’s what happens to Dominic Sessa in “Tony.” I don’t care if the film is a summer indie smash or not (though it deserves to be) — it shows you that Sessa has the goods.

As directed by Brett Sullivan, Hadestown: The Musical transmits the show’s earthy electricity.

There’s no getting around the fact that it’s a greatest-hits compendium. But though Sia’s last major hit was a decade ago, she had such an intuitive gift for crafting powerfully infectious pop songs that it’s hard to understand why she hit a wall.