★★★½ (out of four) “Bones and All” (R; 121 minutes: Luca Guadagnino, the Italian director, is one of our most lushly sensual filmmakers. He makes feasts as much as he makes films. So it’s both a hearty recommendation and a warning to say that he brings as much passion and zeal to the lives of the cannibals of “Bones and All” as he did to the ravenous eroticism of “I Am Love” and the lustful awakenings of “Call Me By Your Name.” If you’ve seen what Guadagnino can do with a peach, it should no doubt concern you what he might manage with a forearm. Full review here. Multiple theaters. — Jake Coyle, The Associated Press

★★★ “Devotion” (PG-13; 138 minutes): “Devotion,” an emotional and fitting tribute to the incredible true story of Lt. Tom Hudner and Ensign Jesse Brown, takes its time building the world and the characters within, which proves to be crucial motivation for the aerial action that takes up the second half. In laying the groundwork, the script is refreshingly restrained: It shows us the characters in natural conversation as they work together and avoids telling us everything with clunky exposition. Multiple theaters. — Katie Walsh, Tribune News Service

★★★½ “The Fabelmans” (PG-13; 151 minutes): Steven Spielberg’s “The Fabelmans” is a movie about dreams. The kind of dreams that propel you as a young person into the adult you want to be, shimmering ahead of you, lighting the way. The kind of dreams in which we’re able to see our past, perfectly lit and strangely clear, as if it only makes sense in retrospect. And the kind of dreams we gather in a movie house to watch on screen, flickering in the dark, haunting us long afterward. “The Fabelmans” is a movie about being seen — and about learning to see. Full review here. Multiple theaters. — Moira Macdonald, Seattle Times arts critic

★★★ “Glass Onion: A Knives Out Mystery” (PG-13; 139 minutes): You watch “Glass Onion” relaxed, feeling like you’re in good hands; everyone on-screen is clearly having a wonderful time, so you can’t help but join right in. The plot’s a clever, multilayered caper, echoing the elaborate structure the movie is named for, and director Rian Johnson fills the script with funny name-dropping and lets the cast happily ham it up. And there’s a wondrous list of A-list cameos, so much so that a goodly portion of my notes taken during the screening consist simply of a famous person’s name followed by an exclamation point or three. Full review here. Multiple theaters. Moira Macdonald, Seattle Times arts critic

★★★ “Guillermo del Toro’s Pinocchio” (PG; 117 minutes): With “Guillermo del Toro’s Pinocchio,” we are warned right from the title that this is no merry, bright-colored fairy tale of a boy made from wood. The filmmaker behind “Pan’s Labyrinth,” “Crimson Peak” and “Nightmare Alley” has a fascination with shadows and elegant grotesquerie, and his stop-motion animation “Pinocchio” is wrapped in grief — an old man, desperate to recreate his dead son, creates a Frankenpuppet — and set during a dark period of history: Italy, during Mussolini’s fascist regime. It’s an artful, moving and often beautiful film, but be careful about showing it to young children; nightmares could ensue. Full review here. Multiple theaters. — Moira Macdonald, Seattle Times arts critic

“Holy Spider” (not rated; 117 minutes; in Persian, with subtitles): “Holy Spider” is a capably acted, resourcefully made and ultimately self-defeating thriller about Saeed Hanaei’s crimes — he murdered 16 women between 2000 and 2001 in the Iranian city of Mashhad — and the widespread culture of misogyny from which they sprang. The story does build, in its second act, to an unsettlingly persuasive indictment of a society that teaches even its youngest members to hate, condemn and destroy women. But did the movie have to fixate so lovingly on that destruction, or make its chief destroyer so compelling? Full review here. (The Los Angeles Times does not provide star ratings with reviews.) SIFF Cinema Uptown. — Justin Chang, The Los Angeles Times

★★ “Strange World” (PG; 102 minutes): Down into a giant sinkhole sinks “Strange World.” The uneasy marriage of clunky psychodrama and overwrought special effects along with the fact that none of these characters are particularly likable make “Strange World” a chore to sit through. Full review here. Multiple theaters. — Soren Andersen, special to The Seattle Times