By Any Means is uneven by design and sometimes simply uneven, but Yahya Abdul-Mateen II and Mark Wahlberg make its collision of civil-rights drama and revenge movie hard to dismiss.
Wild Horse Nine has all the barbed dialogue and bruised male friendship expected from Martin McDonagh, but John Malkovich gives the film a melancholy center that keeps its political cynicism from curdling into empty provocation.
Idiots has the rhythm of an early-2000s studio comedy and the dirt-under-the-fingernails sensibility of a Macon Blair crime story.
Mutiny is at its best when Statham has nowhere to go but through somebody. The fights are blunt and efficient; nearly everything connecting them feels preassembled.
The Rivals of Amziah King tries to be a folk tale, crime thriller, musical and family drama at once. It does not always hold together, but its best stretches feel completely alive.
Kristen Stewart and Alia Shawkat make an easy, believable comic pair in a stoner comedy that is sweet, chaotic, and only intermittently as funny as it thinks it is.
Broken Lizard’s chemistry and the unexpectedly endearing Farva-Thorny wedding conflict provide enough scattered laughs for established fans.
A committed formal experiment with a commanding Alan Ritchson performance and several viciously effective action sequences.
Sophie Thatcher and Charles Melton wander through a gorgeous neon nightmare that too often feels like Nicolas Winding Refn remixing his own greatest hits.
A strikingly photographed erotic thriller turns caregiving and telephone scams into a study of control, then mistakes provocation for development.
Keke Palmer leads Boots Riley's fashion revolution with swagger, humor, and enough visual invention to survive a plot carrying ten ideas at once.
