Alonso Duralde

Neither intelligent enough to be involving nor fun enough to be trashy, this is a movie that would only work if it were a little worse or a lot better.

This is the sort of thriller that constantly sideswipes you with dream sequences and hallucinations, but if you’re willing to go on Ozon’s ride, it’s an unpredictable journey.

When Black Panther works, it’s thrillingly alive, whether it’s the dazzling colors of the vivid costumes by Ruth E. Carter (“Selma”)...or the eclectic and vibrant music choices.

Aficionados of Nicholas Sparks movies may swoon over this film’s distressed T-shirts and kudzu-choked back roads, but lovers of love stories deserve much better.

The third and final film in the Maze Runner series, subtitled “The Death Cure,” gets it half right as an action movie. The stunts, the explosions and the chases are all exciting and elaborately mounted; there’s just not much of a movie to go with them.

There’s a mild chuckle every so often in Early Man...but overall the movie collapses in a heap of familiarity and lackadaisicalness. Park is an animation legend, but even the greats occasionally whiff it.

Hardcore horror audiences won’t find much that’s frightening in Insidious: The Last Key — there’s not even that wonderfully unsettling shriek of violins under the title this time — but as a delivery system for more great work from Lin Shaye, it more than accomplishes its mission.

Collet-Serra’s fourth team-up with Neeson, The Commuter, represents neither man’s finest work, but at its best, it suggests the snap and fun they’ve brought us before.

If having pure fun at a “Star Wars” movie is wrong, I don’t want to be right. So for me, The Last Jedi falls right behind “The Empire Strikes Back” and maybe the original film in providing the thrills and the heartbreak, the heroism and villainy, and the romance and betrayal that makes these films such a treat even for those of us who can’t name all the planets or the alien species or even the Empire’s flunkies.

If you can get through the excess of characters, and the requisite butt jokes, car chase and tween pop songs, the film does keep both the physical and the verbal comedy coming at a steady pace.

The Post passes the trickiest tests of a historical drama: It makes us understand that decisions that have been validated by the lens of history were difficult ones to make in the moment, and it generates suspense over how all the pieces fell into place to make those decisions come to fruition.

First love is as much about hesitancy as it is about exuberance – maybe even more so – and Ivory and Guadagnino perfectly capture that sweet turmoil, aided by a gifted ensemble. This isn’t just an instant LGBT classic; this is one of the great movie love stories, for audiences of all stripes.

The results are an uncomfortable mixture of sanctimony and silliness.

If “Wonder Woman” provided a glimmer of hope that DC Comics movies might start looking, moving and sounding differently than before, Justice League plops us right back into “Batman v. Superman: Dawn of Justice” territory, albeit with a little more wit and humanity.

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.

Director Sean Anders (“Horrible Bosses 2”) and his co-writer John Morris (“We’re the Millers”) execute what are supposed to be the laughs with blunt force. The jokes announce themselves with heavy footsteps, and almost none of them land, stranding a talented cast with terrible material that they’re straining to sell.

Gerwig has an eye for every step of this character’s journey, and in so doing, sets out on her own path toward what promises to be an exciting directorial career.

As a portrait of an author on the verge of a breakthrough, this is a run-of-the-mill, occasionally clumsy biopic; as for contextualizing Christmas, it never explains how it functioned before Dickens and only briefly mentions how it changed after him.

Imagine an improv class where students sit in clusters, waiting for something funny to be said or to transpire, and you’ll have an idea of how this haphazard mess plays out.

It’s not hard to imagine a young audience completely losing their minds over the thrills and action of Thor: Ragnarok, and then loving it all over again when they realize how funny it is.

Baumbach’s films may reflect a prickly brand of humanism, but they’re humane all the same. In an era of untrammeled cynicism, each new release feels like an all-too-brief moment of hope.

As the story builds, these characters become richer and more complicated — and the stakes become more deadly — resulting in a movie with a delayed but no less potent dramatic punch.

Delightfully unpredictable and surprisingly shocking, this is the kind of wintry wickedness that will see you through both Halloween and Christmas, especially if you like those holiday flavors together.

Blade Runner 2049 isn’t about what happens; it’s about what this terrifying and beautiful world — how could it not be, with Roger Deakins behind the camera — tells us about life and perception and reality.

An utterly idiotic movie that uses social media as a conduit for witchcraft and mayhem.

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.

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

There’s not much to Victoria & Abdul, but as a delivery system for Judi Dench, it serves its purpose. Otherwise, it’s just Buckingham Palace fetishism cranked up to peak mumsy.