Brian Truitt

Directed by Nia DaCosta (“Candyman”), Marvels throws a ton of plot at viewers that too often falls back to Marvel-y familiarity – world-saving stakes, villain with a light-up doodad – yet enjoyably soars when it centers on its core trio and dares to go gonzo.

John’s gifts are his songs, and with Rocketman, his wonderful life gets a worthy, refreshing big-screen treatment.

The women in Coen brothers’ movies are usually the much smarter gender, as it is with “Dolls,” where Joel Coen and Cooke’s script creates a tight-knit relationship between its heroines that’s an absolute delight to watch, surrounded by goofball personalities and a healthy amount of campiness. It’s a playfully madcap turn on the “Thelma & Louise” model, and if Jamie and Marian decided to drive off a cliff, you’d want to be in that Dodge with them.

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.

With Neighbors 2: Sorority Rising, the raunchy college comedy is graduating to smart feminist commentary.

The memorable songs return (with some new additions), the movie razzles and dazzles with huge dance sequences and impressive production design, but it’s definitely a more grown-up tale than the original 1992 animated classic.

Brews up an enticing murder mystery and gives Shane Black — who directed and co-wrote the script — another hit on-screen pairing.

Director James Franco's enjoyable ode to the creative process - any creative process, really. It's also one of Franco's strongest roles as an actor, capturing every little quirk and quality of a definite eccentric.

The film is decidedly emotionally manipulative without being cloying, and often finds real humor in the complicated situation that arises around a genius 7-year-old, played by Mckenna Grace.

Love Lies Bleeding is a blood-soaked throwback to '80s erotic thrillers and action cinema but also Glass’ deconstruction of cinematic hypermasculinity through a female lens.

Jurassic World gives us enough dino-mite action to stave off excitement extinction.

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.

Maestro offers a counterpoint of sorts to last year’s “Tár.” Whereas Cate Blanchett’s look at a fictional conductor is a more insightful look at the complicated aspects of artistry, Cooper’s work succeeds in bringing an American legend to life while also examining his humanity.

Julianne Moore shoots and scores – as well as laughs, cries, smokes, drinks, flies and sings – in the quirky Gloria Bell, which minds a fine line between in-depth character study and offbeat romantic comedy.

Some bits fall flat, yet when the Coens hit, there’s nothing better, especially with their usual ridiculously sublime banter.

Even with the occasional misfire in the plot, Fey’s strong performance throughout the film lets Whiskey go down in smooth and satisfying fashion.

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

Pixar doesn’t have the greatest track record when it comes to sequels, but this follow-up surpasses most everything without Toy Story in the title. The animation is stellar and detailed in excellent action sequences, Michael Giacchino’s score swings harder than ever, and the first film’s family-friendly warmth is just as appealing now as it was then, even if Incredibles 2 isn’t totally incredible itself.

A riveting cinematic quest for journalistic truth – especially one like She Said, which tackles an issue that means so much to so many – should always be embraced, no matter the era.

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.

Seemingly fueled by Mountain Dew and Hostess pies, the delightfully berzerk Logan Lucky is a love letter to backwoods ingenuity and, at a time with a deep divide between red and blue states, a universal dose of hillbilly hilarity.

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.

If E.T. was human, wore swim goggles and read Superman comics by flashlight, he’d be the 8-year-old boy at the center of the heartfelt, lo-fi sci-fi spectacular Midnight Special.

All one needs to grasp is the hope and inherent magic of a kid and a dragon being BFFs, then let the feels flow from there.

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

It’s rather elementary: Young women yearning for an action heroine of their own get one with Enola Holmes, a problem-solving youngster we all could use more of in our streaming lives.

As Phantom Thread flits between complicated character piece and unusually funny romantic comedy, the movie becomes much more about Krieps’ Alma. The Luxembourgian actress holds her own with Day-Lewis and often is the best part of the movie.

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.