Brian Truitt

While it focuses more on character moments than absolute Bayhem, Bad Boys for Life does feel a bit long and there is a late out-of-nowhere plot twist that feels a little far-fetched even for these movies. Thankfully, neither detracts from the delightful spectacle that comes with Smith and Lawrence fist-bumping and insult-slinging just like it was 1995 again.

A well-crafted affair by debuting director Dan Trachtenberg that mixes elements of an intimate stage play with the white-knuckled tension of a cracking good Twilight Zone episode.

Hardy is half of why Capone works. The other is Trank, the wunderkind whose nuanced 2012 superhero movie “Chronicle” showcased tons of potential that then was questioned with the disastrous “Fantastic Four” and the loss of a “Star Wars” film in its aftermath.

Even tonal issues can’t upend the magic this movie taps into putting Thor and Hulk together as new best buddies, whether they’re throwing down in an arena or having a bromantic heart-to-heart.

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.

With “Tragedy of Macbeth,” something wicked this way comes – something familiar to anyone who remembers high school English classes but also at times a darkly enchanting delight.

Brutally intense and elegantly crafted, the film showcases the stellar acting chops of Andrew Garfield and Vince Vaughn, and it’s director Mel Gibson’s best work behind the scenes since 1995’s Oscar best-picture winner Braveheart.

In the Heart of the Sea really gives Hemsworth a chance to shine. He’s not just the hammer-slinging Thor: The Aussie continues to make the most of his dramatic work — as in Howard’s 2013 Formula 1 film "Rush" — and showcases a considerable amount of gravitas.

A deep and adventurous exploration of canines as man's (and one particular kid's) best friend.

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.

Among the many things it does well — from hilariously quotable lines to catchy, albeit obscene, songs — the mockumentary Popstar: Never Stop Never Stopping has found the best use for the poop emoji yet.

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.

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.

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

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.

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.

Like a bag of Skittles come to life, there’s more sugar and style to Trolls than substance — with the exception of a “Find your own happiness” theme — but you’d be hard-pressed to keep from smiling throughout the trippy dance sequences and clever banter in this feel-good confection.

Boldly filmed in black-and-white, Branagh wrings a heartfelt narrative from a superb cast, though the story stumbles somewhat when it strays from its youthful focal point.

Hyperviolent, highly watchable action comedy.

Marvel’s Black Widow is a strong solo superhero effort that feels both timely and also way too late.

Colossal is as refreshingly different a monster movie as it is a clever, timely take on bullying, domestic abuse and toxic masculinity.

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.

The movie’s both a reminder to always believe in ourselves, and believe in that old Pixar magic.

Impressive in its ambition, mother! doesn’t quite reach the heights of Aronofsky’s Black Swan in terms of bizarre masterpieces, yet endless conversations about what the heck you just saw will surely be born and raised.

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

The Invisible Man is both a jumpstart and a template for their renaissance: The movie delves into the sheer terror of abuse and explores how Cecilia doesn’t even really understand the psychological scars until she begins to discover some semblance of freedom.

The palpable chemistry between Hanks and Zengel helps the odd friendship to blossom on screen. Hanks exudes the vibe of steady grownup in a crisis and Zengel holds her own with a Hollywood icon by imbuing her character with a wild-child manner that ultimately cracks to show the innocence underneath.

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.