Alonso Duralde

Miscalculations aside, however, there’s a brutal wit and audacity to Ready or Not that makes it feel one-of-a-kind in an increasingly safe mainstream marketplace.

Purists may balk about revisiting this tale, but The Grinch earns its laughter and its sentiment, both of which are plentiful. It’s a full-throated Fah-Who-Foraze.

If you can overlook the three or four endings of Bridge of Spies, each more overdone than the last, there’s a lot to like here.

For audiences who like Marvel movies at their tongue-in-cheekiest, this sequel provides some breezy fun while we wait to find out just how permanent Thanos’ genocidal schemes really are.

Nosferatu offers all the atmospherics and the creeping dread that it should, but this version remains locked-in and static when it might have dared to explore new ground. Like its antagonist, it’s simultaneously living and dead.

Breeziness is a quality Queen and Country has plenty of, making for a lovely journey that never ends up anywhere particularly groundbreaking.

You have to forgive a lot from Bad Moms.... But the wonderfully unexpected cavalcade of hilarity — including one of the smartest and most unexpected celebrity cameos in recent memory — makes this summer sleeper a satisfying surprise.

While writer-director Warren Beatty’s movie about Hughes is crafted of the finest materials, it too remains mostly earthbound, defying gravity only in fits and starts.

Urban has never been funnier, and he makes Johnny’s character arc from cynical Hollywood burnout to a champion capable of self-sacrifice a believable one. Not that many people are buying to tickets to Mortal Kombat II for the character arcs, granted, but Urban’s performance is a delightfully unexpected pleasure in a movie that winds up being full of them.

The Ballad of Buster Scruggs will be, at best, a charming footnote in the Coens’ career, a project they enjoyed doing, and possibly even more enjoyed turning into a film so they can keep their résumé free of episodic television.

Formally speaking, Dionne Warwick: Don’t Make Me Over isn’t nearly as much of a groundbreaker as its subject, but that subject has lived such a rich life — and recorded so many unforgettable songs — that the film is, ultimately, as pleasurable as hearing a vintage Warwick hit on the radio.

The most superheroic feat on display might be the film’s ability to keep human-sized emotions and relationships front and center even as the very fabric of time and space twists itself into knots.

Zemljic spends most of the film front and center, and the movie wisely relies upon her to be our eyes and ears and insight into the story. It’s not a showy performance, by any means, but she earns our empathy.

Chirpy, as colorful as Skittles, and occasionally, appropriately, acrid, Mean Girls is a pleasantly bouncy reworking of the 2004 comedy of the same name.

Ultimately, the film’s breezy attitude and calculated audience-pleasing wins out. Project Hail Mary offers plenty of laughs alongside of a dollop of sentiment, and it centers science in a tale where the apocalypse isn’t necessarily inevitable; it celebrates both humanity’s ability to save itself, and the idea that humanity might be worth saving.

As a retelling of a tragedy that had its moments of heroism among uniformed personnel and indefatigable civilians alike, it gets the job done.

It’s far more successful with holiday magic than it is with character-based comedy, but that’s not enough of a flaw to keep young audiences (and their parents) from potentially turning this feature into a cherished annual tradition.

Whether or not the “Wolverine” movies have a future — Jackman swears this is his last go-round — Logan is an exceedingly entertaining one.

Even if this material might have been better served as a 40-minute short than as a full-length movie, first-time feature director Dan Trachtenberg has cast a trio of actors at the top of their game, and they elevate the material.

There’s nothing particularly world-shaking about Our Souls at Night, but it’s a nice movie about nice people finding love.

While director Andrews, most known for his stage work, doesn’t always know how to lift this story beyond banal biopic choices, he’s certainly tapped into something special with Stewart, who continues to reveal new layers with each film.

Audiences willing to just go with the movie’s outlandish lead character will find laughs and thrills along the way, as well as that rarest of studio properties: a tentpole that actually leaves you enthusiastic about the prospect of a sequel.

Life never reaches greatness, but it’s solidly good, from its earned scares to a spot-on ending. (Don’t let anyone ruin it for you.) The film’s tight spaces and layered audio will work best on the big screen; see it with someone whose wrist you can grab.

This Finale is basically one giant victory lap that takes the Crawley family and their employees into 1930 and beyond — as Cole Porter once wrote, “it’s fun/it’s fresh/it’s post-/depresh.”

Giving the film credit where it’s due, Wonder never cheats in its pursuit of emotion. It’s never mawkish or manipulative, and its characters are so well-established both in the writing and in the performances that the movie ultimately does the hard work of earning those damp Kleenexes.

Between Berry’s committed performance and the film’s brisk cocktail of dread and adrenaline, Kidnap makes for a rousing, if ridiculous, ride.

Ministry works best when it chucks history out the window and leans into cinematic silliness.

No one’s going to accuse Goodbye Christopher Robin of subtlety or of rewriting the biopic rules, but it does dare to go darker than most films like it.