Brian Truitt

While You, Me & Tuscany doesn’t add anything significantly new or innovative to the rom-com recipe – and certainly doesn’t blow up the thing like The Drama – it’s a breezy respite for those who dig the familiar in their escapist pleasure.

The Drama is a moral thought experiment conducted amid a disaster-filled deconstruction of the romantic comedy. And given the plot's somewhat jaw-dropping twist, it’s also one of the boldest, brashest movies in some time.

Alongside the bullets and the one-liners, “Mike & Nick” doesn’t completely make the most of its time-travel premise. But it’s forgivable considering a story full of colorful personalities and the sneakily heartwarming theme of finding empathy and understanding.

Funny and dramatic when it needs to be as well as exceptionally rousing throughout, the movie perfectly captures the story of human resilience and interstellar bromance that Andy Weir’s 2021 brilliant novel did so well.

There are elements borrowed from B-movie horror flicks, crime dramas, Broadway musicals and love stories, mashed together in bold and bizarre strokes. And while imperfections exist in the violent, genre-defying romance, they don’t dim Gyllenhaal’s clear-eyed passion, grand ideas and big swings spattered on the screen.

It’s an essential watch for every music fan, even if you’re not an Elvis junkie.

“Killing” clumsily flits between wry humor and serious drama for much of the runtime before finally finding its satirical bite.

Fennell’s adaptation takes some liberties with Emily Brontë’s original 1847 Victorian-era novel but unless you’re a devout superfan, you likely won’t be too mad. The Oscar-winning British filmmaker crafts a sumptuous bad romance that’s quite haughty, darkly hilarious and ultimately heartfelt.

Full-tilt Momoa and quietly powerful Bautista, with some gore and goofiness tossed in, is a satisfying improvement on the usual two-fisted formula.

Damon and Affleck lead a starry action vehicle – including Golden Globe winner Teyana Taylor – that, even with some plot issues and an overbearing intensity, is way better than most straight-to-Netflix potboilers.

Director Josh Safdie’s globetrotting, genre-busting comedy thriller is a proudly oddball period movie that boasts throwback elements but leans timeless in its unlikely hero’s journey.

Fortunately, Hudson and Hugh Jackman, in total showman mode, make up for the narrative shortcomings as the '90s dynamite duo Lightning & Thunder.

Steamy, twisty, demented and not exactly subtle in its aim to entertain film fans and BookTok alike. Director Paul Feig’s movie doesn’t hit all the marks of its addictive source material, but the thing is plenty wild enough to be a holiday guilty pleasure.

James Cameron’s third adventure in his blockbuster sci-fi franchise, is just as cool a watch as the previous films, yet also as narratively frustrating. Endless subplots, scattershot character development and borrowed story beats backfire on “Fire and Ash,” although it does benefit from an unhinged but relatable villain whose presence keeps it interesting.

There’s plenty of murder, some gore and wild sequences but also a beating heart, via O’Connor’s character, that the others don’t have as much.

It's Clooney's most poignant role in some time, and one he was bred, if not born, to play.

It’s an outstanding, feel-good combination of East and West that depicts Japan's popular "rental family" business – where actors play a client's parent, spouse, sibling or friend at events or in their personal life – while also nimbly exploring loneliness, identity and the importance of found family.

A stronger and tighter movie than its Oscar-nominated predecessor without losing any of its splendor.

A lively, satirical stab at modern-day reality TV, scary big-brother technology, cultural dissension and rampant income inequality, all slathered in blood-soaked ultraviolence and bonkers charm. And don’t worry, old-school Arnold lovers: It’s so insanely different from the original movie that you can adore one without losing any love for the other.

It’s always nice to see someone’s passion project come to fruition. Especially so when it’s this darn good.

While tonally jumbled and at times violently jarring, the movie delivers strange vibes and extremely strong performances from Jesse Plemons at his oddball finest and Emma Stone, who may or may not be from our planet.

Even with an administration full of smart, capable people, no one is properly prepared when nuclear weaponry is triggered, and “A House of Dynamite” puts an extremely human spin on that particular no-win situation.

The flick, based on Hoover’s best-selling novel, lays it on thick alongside a lacking narrative and cringey dialogue. On the plus side, the young acting talent and a welcome lightheartedness will keep the eye-rolling to a minimum.

Deliver Me From Nowhere is the solid portrait of an artist working through some stuff, and a man learning the power of being the Boss.

Aziz Ansari’s directorial debut, the comedy “Good Fortune” would have been just fine as a lively two-hander with Ansari and Seth Rogen that acts as a funny, often insightful exploration of the modern gig economy. It’s Reeves, though, who literally comes down from heaven (actually, more often a rooftop) to be the supernatural presence the movie needs to be something special.

There aren't enough movie musicals in general, and especially not enough that experiment with the form like “Spider Woman.” With a satisfying tale that leans timely given the film’s political bent and a knockout performance by Tonatiuh, it might even weave you breathless.

The Lost Bus is a cathartic quest and character study that works thanks to McConaughey’s steeliness and Greengrass’ ability to put you on the edge of your seat (even if it’s just the couch).

Not all the swings land in “The Smashing Machine.” Which is fine, given how hard Johnson hits (and gets hit) with this fascinating shift in his acting. Going to the mat here with the role of his life – so far at least – shows a performer whose true potential we're just now finally seeing.