When all is said and done, “Luck” is an unabashed and uncritical celebration of the status quo, where living in harmony means everyone accepting their station with a smile.

Exploring a harrowing and disturbing future, Cronenberg has made an essential film for the harrowing and disturbing present.

Like two characters from an old epic poem, hyperbolized more and more with each recitation, Rama and Bheem take on the stature of demigods.

The only surprise about “The Northman” is just how normal it really is, how by-the-book its unfolding, how controlled its chaos.

The Wuhan of Chang’s rendering is unremarkable, which is maybe the very thing that makes the city a remarkable point of origin for this era-defining crisis.

“Ambulance” is an absolute riot of a movie, a laugh-a-minute romp through LA’s crowded streets and freeways. But like staying awake for 72 hours straight, the unceasing full-throttle intensity quickly becomes exhausting.

Like a stage play, the film keeps the action contained, but unlike a play, where such confinement comes with the territory, the small setting of “The Outfit” gives the film a decidedly claustrophobic tension.

In addressing some of the issues that plagued “Murder on the Orient Express,” Kenneth Branagh has shown, at the very least, that he can learn from his mistakes (a virtue that many of Agatha Christie’s characters lack).

Do you remember how much trouble one sports almanac caused in “Back to the Future”? Some of us remember when actions had consequences—and that includes, incredibly, the characters of “The Adam Project.”

There’s nothing to discover, no joy of surprise, only bald and boring recitation. It feels like watching the outline of the movie, rather than the real thing.