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.

The joyous gallows humor and horror-movie commentary of old are gone and some inspired working-in of new technology falls apart.

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.

The film aims to be a Gen Z/millennial “This Is Spinal Tap” but with much less clever wit and way more vocal fry.

While it does offer an extremely flattering view of all things Melania, outside of a few candid glimpses, you're not really going to learn a lot about who she really is.

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.

Beat-thumping techno songs and score by Nine Inch Nails help it all go down easier, as does OG “Tron” guy Jeff Bridges dude-ing up a few scenes, but traveling to that nifty high-tech landscape in this third "Tron" outing has become a chore rather than a pleasure.

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.

What’s explosive doesn’t always equate to propulsive, however, in a stuffed narrative with pacing issues and a plot that doesn’t need two hours and 40 minutes to make its point.

It’s the kind of thing you’d bet would be emotionally manipulative – if only, because that'd be welcome compared to this emotionally disconnecting, sporadically nuanced narrative.

Rather than being an entertaining trainwreck, the finale nihilistically undermines all the good and thoughtful stuff that came before, doing the couple dirtier than they ever could to each other.

Although they haven’t collaborated in a while, this teaming of old friends Lee and Washington soars once it gets cooking.

It’s an ambitious move, trying to recreate a comedy style so iconic and specific. The cast all commit to the bit with 435% silliness, the old deadpan humor is still there and when the right jokes hit, they’ll leave you in literal tears, even if overall this update doesn’t arrest you as much as it tries hard to make you laugh for 85 minutes straight. (And some folks totally will.)

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 movie features pervasive positivity, one really cool canine and a bright comic-book aesthetic. And while this fresh superhero landscape is extremely busy and a little bit familiar, it also feels lived-in and electric.

Heads of State is a bomb pop of a summer movie. It works as a fizzy, somewhat kid-friendly throwback to action-packed ‘80s partnerships – think “Tango & Cash” or “Lethal Weapon” – that doesn’t take itself too seriously and, for a starry streaming action flick, thankfully isn’t a lame duck.

Edwards has a penchant for large spectacle movies with a big budget and a bigger message (see: “Godzilla,” “Rogue One”), and while this “Rebirth” isn’t exactly a thinking man’s “Jurassic,” there's enough B-movie craziness to keep it enjoyable.

Rather than being clever like the original movie, a horror-tinged sci-fi satire/parental cautionary tale, sequel "M3GAN 2.0" is the type of combo goofy comedy/undercooked action flick that would earn an epic sick burn from M3GAN herself.

As an aging wheelman-for-hire on an underdog racing team, Pitt brings plenty of personality – and vroom-vroom steeliness – to the on-the-track thrills of the crowd-pleasing if mildly predictable F1.

Both embracing and deconstructing the genre, "Materialists" is a well-acted affair with three A-list leads – Johnson, Chris Evans and Pedro Pascal – and while certainly thoughtful, the film's strengths are upended by a mood-murdering melancholy.

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.

If you want to go for the really scary stuff, there are plenty of other King movies for that. “Chuck” instead is something truly special, a moving fantasy of a life well lived and no dance step left untaken.

There’s no need to yearn for a female 007 or a woman Wick anymore – just hope for another film that’s all about Eve.

It’s an all-star swing that doesn’t totally connect, and is not even the most interesting variation on a theme here. Fortunately, the movie’s fresh-faced protagonist is likable enough to forgive its bumps and bruises.

That old “Ohana means family” riff still hits right in the feels, though what this latest outing lacks most is the first film’s electric charm.

Final Reckoning offers some of the franchise’s tensest moments, to the point where you feel exhausted (mostly in a good way) after nearly three hard-charging hours.

Storywise, it’s a solid if overlong tale of family and redemption – fans of “Yellowstone” or “Horizon” will find stuff to love. Where “Rust” stands out is in its look, a gorgeously shot production with an emphasis on contrasts and dark colors that’s a testament to the talents of Hutchins and fellow cinematographer Bianca Cline.

The satisfying adventure features side players from past projects like “Black Widow” and “Ant-Man and the Wasp” coming into their own, plus skillfully juggles bleak darkness and inspired humor in a surprisingly moving exploration of mental health.

Let Jason Statham wreck dudes with “The Beekeeper” and “A Working Man,” and let Affleck be a role model for empathetic masculinity – who can still wreck dudes if needed – with “The Accountant” movies.

With Sinners, an inimitable auteur makes the most of every surrealist detail and crafts a fright fest that’s musical and meaningful, mesmerizing and memorable.

[Kidman's] Lifetime-esque potboiler centers on a bored working mom who discovers her husband might not be on the level, but while the locale is postcard idyllic, the narrative is a never-ending slog, only getting halfway interesting with a silly third-act twist and a suddenly bloody finale.

The better-than-expected revamp strips away some of the forgettable matter – no charming princes here! Most importantly, "White" gives an inspired Rachel Zegler a different character arc and a smattering of original songs to let Snow strut as the fairest of them all.

Pratt can do lovable rogue in his sleep at this point, and Brown’s got a spunky young woman down pat. Both of them have some good lines and emotional moments but they mostly feel plug-and-play rather than mining anything new and exciting.

If this is Bong’s take on a Hollywood space blockbuster, it’s better than most. “Mickey 17,” led by a quirky underdog, offers a timely escape where empathy can overcome cruelty on the other side of the galaxy.

Does “Sleepless in Seattle” slathered in supernatural madness sound like a good time? Then dive into “The Gorge," a Whitman’s Sampler of film genres with a delightfully sweet center that belies its freaky packaging.

The fact that Mackie puts the thing on his own mighty shoulders (with some help from talented castmates) and keeps it watchable is a minor miracle.

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.

It’s a bizarrely off-kilter affair that’s forcibly heartfelt and sentimental in one scene and overly mean-spirited in the next, and not even a few choice moments and some enjoyable surrounding weirdos can help two A-listers in way over their heads.

The movie also has a lot in common with Gracey’s most famous effort, “The Greatest Showman,” featuring well-crafted, effervescent musical numbers doing what they can to make up for oversentimentality and an unfocused narrative.

Visually sumptuous and surprisingly sensual, "Nosferatu" isn’t as wonderfully original (or bonkers) as Eggers' top-notch flicks “The Witch” and “The Northman,” but great turns from Lily-Rose Depp and Bill Skarsgård sell its disturbing, otherworldly beauty-and-the-beast tale.

The Brutalist is a toxic tale of the immigrant experience and a gripping narrative of love and hope tested through vice and struggle.

That Circle of Life everybody was singing about three decades ago? Thanks to Jenkins’ inimitable grace and Miranda’s tuneful swagger, it continues to feel vibrant.

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.

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'.

The follow-up plots an extremely familiar course but at least does so with fresh new personalities and more inspired Pacific Island influence.

As one might say in Oz, “Wicked” is thrillifying in its melodiousness even if overlongical and ponderrific.

Earnest to the point of stultifying, “Red One” offers a busy landscape of plastic action figures come to life, visually appealing and plenty colorful, though as hard as it tries, the movie doesn’t deliver the joy and emotion you’d want in a seasonal treat.

The stellar acting and assorted songs boost much of the familiar elements in "Emilia Pérez,” creating something inventively original and never, ever bland.

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.

This overly sentimental, unduly earnest journey based on Richard McGuire's graphic novel is more gimmick than substance, one overflowing with moments and characters that proves ultimately unfulfilling.

The thriller is both a thought-provoking investigation into real-life themes and human flaws but also an undoubtedly entertaining exercise, one where the simple act of dropping off ballots becomes a crucial aspect of a scintillating, white-knuckle affair.

The result is another middling comic-book adventure for the fan-favorite Spider-Man antihero that leans kooky and earnest and even saps some of its title character’s bite, though does give the snarling Venom a new aspect: a big baddie daddy.

A film like, say, all-time weepie cancer tale “Love Story” crescendos toward the eventual waterworks – while it may leave some looking for a tissue, “We Live in Time” ends up thwarting rather than boosting that catharsis.

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.

While “Folie à Deux” embraces a heightened, even cartoonish quality in continuing the story of Phoenix’s troubled soul, Phillips really misses a chance to go full musical and do something truly different. Just dipping its toes in that genre, with those strong performers, is enough to drive you mad.

While the ending loses steam as “Different Man” gets in its own bizarre head, the film maintains a certain heady, psychological trippiness.

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.

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.

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.

Most of the silliness lands, and the stuff that doesn’t is enveloped by the total chaos, anyway. That’s all to be expected with Deadpool around. The meat of the matter, surprisingly, is the loving closure given to the Fox movie run, plus a reminder how much an unleashed Jackman rules now, and always did.

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.

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

The original movie took a similar tack but did it better, and the sequel misses a real chance to flesh out the intriguing new emotions more. Aside from Anxiety, a truly inspired Disney antagonist, they feel more like side characters than Anger, Fear, Disgust and Sadness did in the first outing.

It does deliver on the mayhem front.

There’s a scrappiness to Atlas that pairs well with a human/machine bonding narrative and a fish-out-of-water Lopez trying to figure out how to work a super cool, high-tech armored suit and not die spectacularly.

The movie is a unicorn of sorts, a pure and perfect action flick with post-apocalyptic hot rods, gorgeous demolition-derby carnage and demented confidence.

Like “Donnie Darko” or David Lynch’s entire oeuvre, “Glow”... blends the real and the surreal in a neon-drenched nightmare that leaves a trail of thematic breadcrumbs for its audience.

There’s a refreshing whiff of whimsy and playful originality to writer/director John Krasinski’s big-hearted fantasy.

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

Gosling nicely follows up his Oscar-nominated Ken turn as an embattled Everyman who falls 12 stories, gets thrown through glass and pulls off an epic car jump, among other death-defying moments in the breezily delightful Fall Guy.

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.

The Ministry of Ungentlemanly Warfare does well with its “Superman and Reacher kill Nazis” vibe before overcomplicating the matter. Yet the biggest issue with director Guy Ritchie’s World War II action comedy is it doesn’t know what kind of movie it wants to be.

It's a grounded, well-acted ode to the power of journalism and a thought-provoking, visceral fireball of an anti-war movie.

In his directorial debut “Monkey Man,” Dev Patel gifts action-movie fans with a multilayered, hyperviolent narrative. Sure, he pulls off a deep dive into Indian mythology, yet he's pretty darn good at attacking goons with fireworks, platform shoes and all manner of sharp objects too.