Brian Truitt

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.

Ridiculously attractive spies fall hard for each other in Allied, but don’t expect "Mr. & Mrs. Smith" with Nazis.

Clearly far from the worst the franchise has offered (sorry, “Scream 3”) and not quite to the level of the late Wes Craven's innovative 1996 original, Ghostface’s latest slice-and-dice through Woodsboro checks all the appropriate boxes though lacks some of the quirky fun that marked previous entries.

“Lightyear” is a crowd-pleasing effort that doesn’t shoot for the moon but manages to be a nostalgic blast anyway.

The Whale is an exquisitely soulful tale that avoids forgettable sentimentality.

There’s no end to the schmaltz in Winnie the Pooh’s honey pot, yet Disney’s live-action Christopher Robin also tosses in enough charm and tomfoolery for a sufficiently delightful hang with the iconic bear.

Wonder Woman 1984 is director/co-writer Patty Jenkins’ much lighter, somewhat campy follow up to her World War I-set 2017 hit film, though a lot has to do with the new retro time frame. While not quite up to par with its predecessor, the Reagan-era sequel returns Gal Gadot as the Amazon princess with the bulletproof bracelets, introduces a couple worthy foes, and is a pretty fun time even if the extremely busy “1984” almost wears out its welcome at a hefty two and a half hours.

A spectacular ride for most of it, and while you're a little let down at the end, you kind of want to jump back on and do it all over again.

Tthe writer/producer/director/star’s first film in 15 years struggles with its tone and is a solid if unspectacular effort, though Beatty smartly takes a supporting role to the youngsters by playing the kookily eccentric Hughes.

But in trying to break free from being Fast and Furious, “Hobbs & Shaw” forgets to maintain the balance of insanity and heart that makes the series special.

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.

But be warned, fellow best actress contenders: The power of Gaga is undeniable as she rules House of Gucci with powerful panache and addictive swagger.

While it lacks a strong overall narrative focus, "Ricardos" makes the most of a strong supporting cast and Sorkin’s excellent, banter-filled script.

The superior yet still extraordinarily cheesy "Here We Go Again" suffers from many of the same fundamental problems, though the film exudes an infectious energy and hearty spirit that’ll put you in a powerful Swedish super-pop headlock until you submit.

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.

White Boy Rick works better as a working-class father/son drama than a cautionary tale about the American judicial system, though it never comes together satisfactorily as either.

The Overlook Hotel is still plenty creepy, as is the crusty naked ghost lady in Room 217. But the adaptation of Stephen King's Doctor Sleep is more likely to keep you awake at night with the fresher stuff than the retreads.

In a year full of talking-animal hits, Sing isn't quite as strong a number. It's a tale that might not be particularly thought-provoking but sure is toe-tapping.

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.

While it unabashedly leans into its chick-flick nature, returning director Sharon Maguire — who helmed 2001’s franchise-starter "Bridget Jones’s Diary" — manages to craft the strongest and funniest film of the series.

Cars 3 at least tries to put a little extra in the tank this time around.