Previously released
★★★½ Anatomy of a Fall This year’s Palme d’Or winner at Cannes is a murder mystery that’s more concerned with perception rather than resolution. Director Justine Triet guides Sandra Hüller through a plot where her writer character, Sandra, may or may not have pushed her husband to his death from an attic window. Hüller gives a ferocious performance, especially once Sandra goes on trial for murder. What’s also on trial is an outsider’s interpretation of what goes on in a marriage. An engrossing courtroom drama with flashy battles between lawyers and with evidence that can be read multiple ways. (152 min., R) (Odie Henderson)
★★ The Exorcist: Believer In this “requel,” the first of three films, Pazuzu gets a two-for-one deal on teenage souls, possessing Angela (Lidya Jewett) and her friend, Katherine (Olivia O’Neill), after their botched spirit-conjuring experiment in the woods. “Hamilton”'s Leslie Odom Jr. leads an overstuffed cast that includes a very good Ann Dowd as an ex-nun rediscovering her faith. Ellen Burstyn reprises her role from the first film in a glorified cameo. Far more unintentionally hilarious than scary, which will make it a good time for some. (121 min., R) (Odie Henderson)
★★ A Haunting in Venice In Kenneth Branagh’s third outing as Agatha Christie’s Hercule Poirot, a Venetian palazzo is the site of dark doings. Are they supernatural or standard-issue murderous misdeeds? Branagh, who directed, tries to have it both ways: “Haunting” is the whodunit as horror movie. It’s plodding, overstuffed, and a bit confusing. The presence of Tina Fey and Michelle Yeoh is a plus. (103 min., PG-13) (Mark Feeney)
★★★½ The Holdovers Director Alexander Payne reunites with his “Sideways” star Paul Giamatti in this superior dramedy set in 1970 at a snooty Massachusetts prep school. Giamatti plays cynical ancient civilization teacher Paul Hunham, hated by most of the students and faculty. He’s forced to look after Angus (Dominic Sessa), a holdover at the school during winter break. Joining them is school cook Mary (Da’Vine Joy Randolph), a world-weary, workingclass woman grieving the death of her son. Funny, sad, and touching, with excellent performances and a welcome 1970s film aesthetic. (133 min., R) (Odie Henderson)
★★★ Killers of the Flower Moon Martin Scorsese’s adaptation of David Grann’s book boasts powerful performances by Lily Gladstone and Robert De Niro. She plays Mollie, an Osage woman entrapped by De Niro’s corrupt and murderous leader, William Hale. Leonardo DiCaprio plays Hale’s dimwitted nephew, Ernest, who marries Mollie for her money. The atrocities against the Osage are graphically depicted, but other than Gladstone, none of the Native Americans are fleshed-out characters. The final scene may be Scorsese’s best coda. Flawed, but worth seeing. (206 min., R) (Odie Henderson)