Brian Truitt

Packed with surprising depth as it utilizes complete lunacy and clever bites to cobble together something wholly different in the cartoon space, even though at times the wacky film does itself a disservice by aiming for shocks rather than smarts.

If the original “Creed” was a straight-up knockout from bell to bell, the sequel takes its time with body blows – from all directions – to ultimately get you right in the feels.

There is a certain jittery edginess to Keaton’s Kroc but the actor imbues his character with such folksy likability that it’s a subtle turn from working-class go-getter to greedy bad guy.

The not-so-secret sauce for why this Mulan works is Liu, a Chinese actress new to American audiences who sells every bit of her character, from rebellious youngster to conflicted accidental soldier to confident warrior woman.

John Williams composes a sprawling, effervescent score that, while not his best, certainly captures the musical magic that makes his partnership with Spielberg so special.

Director Joe Cornish grounded the alien-invasion genre with clever plotting and entertaining English youngsters with 2011's “Attack the Block” and does the same with epic fantasy with this clever “Kid.”

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

Without Zellweger’s remarkable Oscar-worthy performance, it’s standard-issue biopic fare – with her, the cultural icon comes to life again, warts and all.

Wilder remains the gold standard of Wonka-dom. Yet there’s little connective tissue between his mad genius ― which featured a snarky edge and a hint of darkness ― and Chalamet’s version, who likely would never let a child blow up into a ginormous blueberry.

Good news, parents: Storks is bound to entertain you and your little ones. Bad news: Get ready to answer a lot more awkward questions about where babies come from.

Pattinson’s main man holds down a revamped Gotham that feels distinctively gritty with its blueprint of madness and mayhem, a place you would never want to live in but still would love to revisit as soon as possible.

In its own terms, Dumb Money probably should sell off sooner – nothing kills storytelling momentum like congressional Zoom hearings – but you’ll be hard-pressed to find a better big-screen combo of rising stock prices and rousing joy.

A sense of family, the one you have and the one you make, strongly pervades every inch of the world that The Good Dinosaur inhabits.

While “Challengers” falls nebulously somewhere between a coming-of-age flick, dysfunctional relationship drama and snazzy sports extravaganza, Guadagnino nevertheless holds serve with yet another engaging, hot-blooded tale of flawed humans figuring out their feelings.

“Kingdom” aims to bring big ideas into a sprawling blockbuster atmosphere, though that gambit winds up weighed down by its own ambitions.

Director David Yates’ entertaining introduction of awkward hero and magizoologist Newt Scamander (Eddie Redmayne) is a confident and surprisingly funny adventure that’s more charming than most of the eight Harry Potter films.

For grown-ups, however, Deadpool avoids enough pitfalls to both embrace and flambé the superhero genre while also finding time for romance, doling out equal handfuls of bullets, barbs and warm fuzzies.

Deadpool 2 is chock-full of all the cartoonish ultraviolence, meta commentary and pop-culture references you’d expect. Where it surprises — and why it works so well — is how it balances an actually touching undercurrent alongside superhero subversiveness.

The best thing O’Connor does here, as he also did with the underrated “The Accountant,” is let Affleck remind us once again that he’s a first-class actor – just in case anyone forgot after his brief stint in an infamous cape and cowl.

On one hand, the core conceit – about elderly people suffering thanks to crooks and legal loopholes – is upsetting and infuriating on the surface. But Blakeson puts such a colorful, over-the-top sheen on it, plus lets Pike and Dinklage loose on each other, that you can’t help but be entertained by the criminal carnage and extreme shenanigans.

Whether together or solo, Blunt and Miranda are endlessly charming.

Rogue One is often undermined by its close ties to George Lucas’ original trilogy, and more emphasis is put on its central mission than its fresh-faced characters.

While Face the Music is best when you don’t think about it too hard, it's also a movie that knows exactly what it is and doesn’t bother to have an insincere moment.

American Made points out an unfortunate time in our history when government shenanigans ran amok internationally and people did bad things in the name of greed and power. But hoo-boy, does Tom Cruise have fun with it.

Wan leans into the real history of the 1977 Enfield poltergeist legend, too, though it’s not like he needs any extra inspiration for his fright fest — when it comes to horror, the man pulls no punches or screams.

You’ve heard of an October surprise. This is a November disappointment.

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.

It has the best action sequences of all four chapters, though its revolutionary message gets bogged down by a meandering plot and some good old-fashioned overacting.

Here’s some Disney magic for you: The new Beauty and the Beast actually improves upon the animated classic.

When it comes to memorable personalities, humans and aliens alike take a backseat to Fassbender, who is magnificent in his dual robotic roles.

The message here is everything might not be as awesome as it used to be, but that’s OK. It's a grounded, modern sentiment – and a self-reflective one – wrapped in a hyperactively bonkers, extremely enjoyable package.

Directed by Lee Isaac Chung, “Twisters” is a monster truck of a summer movie, an often-enjoyable ride rocking a “Hell yeah, science rules!” bumper sticker that gets stuck in muddy subplots and looking at the original in its rear-view mirror.

An enjoyable piece of vibrant world building that steps away from the musical bent of recent non-Pixar efforts like “Encanto” and the “Frozen” flicks.

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.

After two mediocre 2000s film featuring Marvel’s legendary superhero family, and an atrocious third outing in 2015, the foursome makes its Marvel Cinematic Universe debut in a combo sci-fi/disaster flick full of retrofuturistic 1960s flavor.

The filmmaker embraces unpredictability and plenty of gore for his graphic spectacle, yet Alvarez first makes us care for his main characters before unleashing sheer terror.

If you were holding out hope that Frozen 2 could equal or surpass the original phenomenon, it’s time to let it go.

It took three “Thor” films for Chris Hemsworth’s thunder god to find his groove. Although Larson’s heroine is still a work in progress, Captain Marvel lays a solid foundation to follow her wherever she flies next.

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.

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).

It’s another complete and uncanny transformation for Theron, who dazzles as anchor Megyn Kelly in the all-star drama Bombshell.

An ambitious love letter to the original. It's also as polarizing a picture as last year’s “mother!” – which shares a commitment to blood and insanely audacious climaxes – and thoughtfully explores feminine strength amid the proudly self-possessed carnage.

The film’s greatest strength is its major team-up. Caine and Keitel have an electric chemistry when they’re onscreen together.

With Butler’s stellar portrayal, it’s never dull, and more enjoyable than not. The musical numbers are often dazzling, boosted by Luhrmann’s inimitable style. And the plot (for better and for worse) covers a ton of Presley’s life. But even when it’s over, you’re still not sure what Hanks is doing.

Satirical comedy, battlefield brutality and personal tragedy mix yet never completely gel in Napoleon, a biopic starring Joaquin Phoenix as the mercurial title character.

The intelligent, timely and twisty thriller Miss Sloane introduces an antiheroine feared by both Republicans and Democrats. Jessica Chastain is all hellfire and high heels as powerful Washington lobbyist Elizabeth Sloane.

Tonally, Ant-Man is a little all over the place — at times, it's a quirky comedy, heist film, trippy sci-fi project and family drama, never able to really blend everything in a cohesive fashion.... That said, when it's on its game, Ant-Man does some of the best stuff ever in a Marvel movie.

A hilarious, heartbreaking, touching and rather wonderful close to an enjoyable trilogy.

Director Ridley Scott unleashes a pumped-up, action-packed sequel that lacks the gravitas of the 2000 original, mainly because it’s way more interested in pulpy soap opera.

Nobody fails to break a bunch of new ground transforming another normal guy into a murder machine although Odenkirk's presence does give the film a conflicted and darkly comic center. Let's hope more machine-gun antics are in his future.

A loving ode to a few decades that Spielberg made his own, Ready Player One’s an entertaining nostalgia trip that wears its influences proudly but throws them at such dizzying force that sometimes you feel like you’re buried under Chuck E. Cheese tokens.

Unlike the corner of the entertainment industry it tackles, Mindy Kaling’s quick-witted screenplay for “Late Night” doesn’t go for cheap laughs, but instead wields incisive barbs to successfully make its point.

The movie is successful at finding little details that make it feel lived-in and authentic.

The moving and eye-popping thriller, starring a never-better John David Washington, dives into the hot-button topic of artificial intelligence but more importantly mankind's tendency toward war and how we treat those different than us.

Directed by Simon Curtis and written by series creator Julian Fellowes, the sequel is a charming and soapy new chapter filled with enjoyably dry humor (mostly courtesy of the fantastic Maggie Smith), some heartbreak, a dash of mystery and a history lesson from old-school Hollywood.

There’s also a relentless darkness in "Soldado" that some fans of the original will love, but the inherent idealism of Blunt’s Macer is missed: When everybody's a shade of bad, it begs for any sort of normal protagonist.

Take out the cool retro tunes, neon everything and the formidable woman of action, and Atomic Blonde tends more bland than Bond.

Top-shelf Shyamalan. Centered on a family having to make the most dreadful of decisions, “Knock” is a well-crafted intimate thriller that plays with your expectations and immerses you in a disconcerting situation.

Pee-wee Herman may still look good in his ill-fitting suit, but more than 30 years after first hitting the big screen, his antics haven’t aged well.

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 melodrama is packed with more style – so, so much style – than narrative substance, though Jolie...fully commits to the role both emotionally and musically.

What resonates more is his more subtle exploration of how people deal differently with trauma and the power of connection. That message — and a captivating McAvoy — will stick with you long past the thrills of a cool twist.

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 David Frankel’s comedy is honest and clear-eyed as it digs into a media world where story clicks increasingly matter more than quality.

Hyperviolent, highly watchable action comedy.

It’s a sketch-type conceit stretched to movie length that wears thin at times. When the stars are on their game, though, they keep the laughs coming.

It’s a more demanding narrative to navigate than the director’s previous efforts, and not all of it works with its sly subtlety. Yet there’s sensational artistry at work, with Aster peppering much of his storytelling in the background of scenes (photos on walls, informative signs, etc.) that a lot of folks might not even notice.

For his newest starry murder mystery, based on Christie’s “Hallowe’en Party,” Branagh challenges Poirot’s deductive mind and supernatural belief system and surrounds him with spookiness that can only spiff up a creaky plot and thin characters so much.

The new "Matrix" tries to reprogram a beloved piece of cinema. However, it’s quite a few fixes short of a full upgrade.

Director James Mangold’s biopic wonderfully keeps him a mysterious minstrel, studying a complex artist reaching the early heights of his talents when times were a-changin'.

While Solo is a Star Wars movie that gambles on not really being a Star Wars movie, it’s a winning chapter that only sparingly (though intriguingly) shows its hand in connecting to the bigger universe.

The sequel Beetlejuice Beetlejuice boasts a big heart and fleeting moments of inspired fun, often featuring Keaton’s moldy-faced menace. Compared to the brilliant original, however, the overstuffed follow-up lacks the same unhinged, kooky magic.

It’s when there's a distinct lack of King Kong that Skull Island turns into a plodding affair.

It’s an irresistibly arresting “Beverly Hills Cop” that knows when to play the hits.

A visually sumptuous effort with wondrous sights, though its character development falls short of those same heights.

Free Guy is a big, warm hug of a movie with plenty to love, even if you’re not super into bubble gum ice cream, swing sets and vintage Mariah Carey like Ryan Reynolds' goodhearted title character.

While its narrative is unnecessarily complex and its story influences obvious, director Karyn Kusama (“The Invitation”) is mostly successful juggling a noir style, shifty denizens and shadowy dealings under L.A.’s bright sun.

Original writer/director Dean DeBlois returns for a revamped “Dragon” that feels like a different experience but is just as good as the original, with moments of wonder and awe featuring characters fleshed out in new ways – literally and figuratively.

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.

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

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.

Secret Life anchors itself on an oh-so-familiar concept but sparkles most when imagining some of its crazier shenanigans.

Heart Eyes is tastier than a box of candy hearts, unleashes some highly entertaining kills and sticks mostly to its genre scripts. But if it drags even one horror-hating significant other over to the dark side, that’s a bloody win.

Even with a great turn from Brad Pitt, an impressive showing by newcomer Diego Calva and a bunch of entertaining cameos, the madcap comedy-drama can’t help but run out of creative crazy juice by the end as it unspools into cinematic sentimentality.

Exquisitely crafted...It’s a strange little amalgamation that totally works: a vicious Shakespearean satire about power-hungry mind-sets, stealth corruption, American ambition and the current state of divided affairs in our country, but also a quasi-fictional go-for-broke biopic about a political leader we really don't know at all.

The illegal goings-on move to New York, where the plot plods until the crew gets together and the movie unleashes its secret comedic weapon: Anne Hathaway.

Similar to other recent musical biopic vehicles like Judy and The United States vs. Billie Holiday, Respect never reaches the greatness of its shining star.

Like a highly watchable amalgam of “Field of Dreams,” “Zootopia” and Arthurian legend, the colorful crusade features a solid hero’s journey with a slam-dunk of a finale.

It’s a nifty change of pace for a main character’s superteam to include his parents and grandma instead of Batman and Wonder Woman.

This “Scream” is neither king of the hill nor top of the heap, but you can’t be too mad at a picture that makes a cathartic treat out of a plunged knife in the eye.

While Birds of Prey is all about that group dynamic, its resident Oscar nominee sparkles as the cuckoo crazy pants center of attention who's the batty wind beneath their wings.

Instead of slowing down, you get used to its speedy pace, enough to sit back in awe of the indisputable acting talent – familiar names and fresh faces alike – Reitman’s pulled together to revisit a TV miracle.

Well-acted but often painfully melodramatic.

The Lost City isn’t a bad movie, and it’s sufficiently ridiculous for those seeking a gonzo escape with A-listers. You're just left wanting in general, be it extra Pitt or more ribaldry.

The clichéd ghosts of James Bond past haunt Spectre, an action adventure whose biggest failure is looking back on 007’s own success.

McCarthy and Wiig are solid as the two pals who have to mend fences amid paranormal goings-on, but Jones is great as the quartet’s boisterous voice of reason and McKinnon is the film’s biggest and quirkiest standout.

Doctor Strange in the Multiverse of Madness definitely makes good on the promises of an excessive title: Alternate realities are in full effect, things get progressively more bonkers, and the latest adventure for Benedict Cumberbatch’s Marvel magic man takes “the search for one’s self” conceit to a whole new level.

While the movie overcomplicates matters as the plot tosses in assorted criminal types and various twists, the leads always keep it watchable just riffing off each other with verbal barbs and sharp looks as their unnamed characters’ icy relationship melts and they find a mutual respect.