Brian Truitt

La La Land is both delightful confection and life-affirming food for the soul.

The Prom is an exuberant love letter to Broadway’s “Let’s put on a show!” ethos that will earworm you till the new year and proves how a great musical – armed with a heartfelt story – unites like nothing else can.

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.

To call it haunting might be trite but also spot on: With a terrific performance from Andrew Scott as a queer screenwriter at a crossroads, “Strangers” is the sort of cinematic balm that not only touches your soul but takes up prime real estate.

No need to bury the lede: Spotlight is a masterpiece.

Writer/director Martin McDonagh (In Bruges) crafts an expertly structured, brutal, yet surprisingly rousing narrative around a woman who’s ready to torch her entire life if it means catching a killer.

Simultaneously an immersive concert film, enchanting romance and tear-jerking rock fantasy, A Star Is Born is a dynamic multifaceted showcase for Gaga and Cooper, who makes his directing debut a thing of melodic, masterful beauty. Together, they form an electrifying duo in one of the best movies of 2018 and the finest musical since 2002’s “Chicago.”

Parker creates a fascinating portrait of Nat Turner as neither hero nor villain. In the end, he’s portrayed as a man faced with tough decisions.

The villains are fairly obvious in “Flower Moon,” but Scorsese asks audiences to take a wider look at systemic racism, historical injustice and the corruptive influence of power and money, intriguingly tying together our past and present.

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

While at times bleak, A Ghost Story isn't devoid of hope. More essentially, the best film so far this year is a thought-provoking, singularly special masterpiece about love, mortality and how our heart keeps beating even after it stops.

Ridley Scott’s 1982 classic Blade Runner popularized the cyberpunk movement (a gritty mix of neo-noir and hardcore sci-fi) back in the day, but 2049 perfects it. Super-stylish and deeply human — even with androids and holograms around — the spectacular follow-up takes the detective story of the first film and turns it into a grand mythology of identity, memory, creation and revolution.

Sneakily utilizing production design and uncanny good editing, The Father fascinatingly puts the viewer in the same state of distress as its main character. And in adapting his own play, the director’s carried over an intimate quality of a staged chamber drama to not just show a man dealing with dementia but also offer a way into his mind with a haunting, deeply affecting and quite memorable narrative.

While not as cinematically game-changing as Pulp Fiction or as gore-spattered as the Kill Bill films, The Hateful Eight doles out all of Tarantino’s favorite things.

Sing Street is a wholly appealing genesis of teenage romance and music-group therapy for one Irish boy and a instant retro classic for those still hungry like the wolf.

Arrival is such a beautiful and thought-provoking film that it almost singlehandedly makes up for every bad aliens-coming-to-Earth film you’ve ever seen. Yes, even Independence Day: Resurgence.

Manchester finds a way to weave together truly wrenching sequences with a clever sense of humor, and Lonergan pulls extraordinary performances from his entire cast, especially Casey Affleck.

A highlight reel for everyone involved: career-defining work from Scarlett Johansson and Adam Driver, astounding supporting turns courtesy of Laura Dern and Alan Alda, and a masterclass from Baumbach.

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.

While the themes are deep, Black Panther is at the same time a visual joy to behold, with confident quirkiness (those aforementioned war rhinos), insane action sequences and special effects, and the glorious reveal of Wakanda, whose culture is steeped in African influences but which also offers a jaw-dropping look at what a city of the future could be.

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

Jojo Rabbit succeeds even with a high degree of difficulty, given the sensitivities of the subject matter, the emotional undercurrent of a mother’s devotion to her son and the breaking down of artificial walls to let love in. As much as it makes you laugh, Waititi’s must-watch effort is a warm hug of a movie that just so happens to have a lot of important things to say.

It’s a ghost story but also an underdog’s story, a fighter’s story, a mother’s story and, thanks to an Oscar-ready Stewart at the absolute top of her game, one of the very best movies you’ll see this year.

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 Force Awakens reveals surprising connections, begins a few bromances, solves mysteries while digging up others, and sets a strong tone for what comes next in Star Wars lore. Best of all? It’ll make you feel like a kid being introduced to something truly special once again.

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.

The main voice actors all fit their animated personas, especially Poehler and Black. Poehler brings a unshakably quirky optimism to Joy while Black takes his acerbic stand-up routine, makes it a smidge more family-friendly, and turns up the juice for Anger.

Promising Young Woman is a deliciously dark and wonderful combo of style, substance and artfully utilized pop jams.

Hereditary isn’t just a scary movie. It’s much, much, much worse than that.

While The Dark Knight won't be supplanted any time soon as tops among Bat-movies, the new film makes a strong argument for second-best simply by taking time to explore the core of Batman that others haven’t: He’s a complicated mess who can’t get out of his own way long enough for the greater good.

There is more than enough magic, music and muscle to go around – everybody’s so ripped, Love and Thunder often seems like a Frank Frazetta painting come to life.

If the Marvel superhero movies on the whole are your favorite band’s individual albums, Avengers: Endgame is the triple-disc greatest-hits package with the really awesome cover and a slew of familiar, comforting gems inside.

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.

So it seems lightning has struck again, this time in the DC universe where the most successful movies thus far have played it safe. That’s never been Gunn’s game, thankfully, and certainly isn’t here. Anyway, who needs Batman around when you’ve got Starro the Conqueror?

Splendidly directed by Marielle Heller, Can You Ever Forgive Me? feels worn and lived in – in a good way – with a world of musty vintage tones and bar-room desperation given emotional life through McCarthy and a super supporting turn from Richard E. Grant.

Equally powerful and feel-good, Creed is an entertaining reminder that this franchise isn’t down for the count yet.

The 21-year-old actor holds his own in the emotional project opposite a couple of heavyweights, Nicole Kidman and Russell Crowe. Just as deft in his work is writer/director/co-star Joel Edgerton, who's crafted a touching look at the darker sides of evangelical belief and parental judgment.

A beautiful and brutal headtrip exploring the positives and negatives inherent in mankind's evolution, with characters struggling against losing themselves to something alien.

With outstanding performances from newcomer Rachel Zegler and Ariana DeBose, Spielberg’s take doesn't stray too far from the original 1957 “Romeo & Juliet”-inspired Broadway musical or the 1961 best picture winning-film, but is rather a more authentic, dynamic and thoughtful revamp.

As much of a wry hoot as it is, with Wright as the film's enjoyably irascible lead, Jefferson also weaves in a dysfunctional family drama that gives it emotional heft to complement the hilarity.

Entertaining and surprisingly funny given the subject matter, the movie’s also an exquisitely acted affair paced by Chastain (who also produces), turning in a career-best effort as the complex Tammy Faye.

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

Washington has put together a troupe that crafts a retro story that’s still completely relatable, no matter one’s race, and brilliantly plays a protagonist that finds the sweetest spot between lovable and loathsome.

The satisfying and heart-wrenching climax is a last reminder that Caesar’s new adventure is one of this summer’s best.

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 essential watch for every music fan, even if you’re not an Elvis junkie.

The filmmaker crafts an entertaining, immersive and ultimately optimistic spectacle that never forgets, especially at its ending, that humanity should always trump the system.

A stronger and tighter movie than its Oscar-nominated predecessor without losing any of its splendor.

It's a touching story of Americana mixed with sibling rivalry, parental pressure and heart-wrenching despair, with a ripped Zac Efron in an amazing turn as the beating heart of a tight-knit yet troubled clan.

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.

Director Jon Watts’ third Spidey film is a rousing entry that doubles as a love letter to the comic-book character, a film very much about second chances and a cleverly crafted reminder of that famous adage: “With great power comes great responsibility.”

Dunkirk is also one of the best-scored films in recent memory, and Hans Zimmer’s music plays as important a role as any character. With shades of Edward Elgar’s Enigma Variations, the melodies are glorious, yet Zimmer also creates an instrumental ticking-clock soundtrack that’s a propulsive force in the action scenes.

Hopkins and Pryce have sensational chemistry and are rather heavenly inhabiting their character arcs, which power this pious take on “Frost/Nixon.”

Peele is this generation’s Hitchcock, for sure, but also a true American original with introspective themes in hand and suspense to spare.

Several heads roll though it’s your mind that'll get truly blown by The Green Knight, a visually dazzling and thoughtful trip back to Camelot.

The magic of Homecoming is that it belongs more to the John Hughes cinematic universe than the Avengers’.

Not only historically significant but also truly excellent.

Murphy wonderfully inhabits the nervy intensity of a gaunt and troubled figure, who's deemed unstable and egoistical by his peers during the war and at wit’s end later, as he contends with politicos with a score to settle.

Writer Greta Gerwig's witty and endearing solo directorial debut...navigates the absurdities and struggles of the transition into adulthood while striking an excellent balance between enjoyable quirk and touching emotion.

In one of the movie's most memorable scenes, Javed and his activist love interest Eliza (Nell Williams) embark on a glorious, mischievous romp out of school and through Luton, singing “Born to Run” and dancing with literally everyone who’ll join them.

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

With Licorice Pizza, Anderson delivers a warm tasty slice of adolescence as well as two fresh-faced youngsters that will satisfy cinephiles for years to come.

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.

Monster offers a cathartic study in overcoming loss and traversing the fine line between childhood and adulthood under tragic circumstances.

"BOOM!” is an entertaining, heart-filling work that showcases two musical geniuses, putting a new spotlight on Larson’s musical legacy and giving Miranda another endeavor to gift us with his unparalleled artistry.

Everything Everywhere is an action-packed club sandwich of weird, but also a splendidly human experience to cherish.

A wonderful throwback about a flawed figure who took on a hostile era in Hollywood with choice words and major chutzpah.

As notorious gangster James “Whitey” Bulger, Depp astounds with one of the best performances in his long career while co-star Joel Edgerton steps up equally well as John Connolly, an ethically questionable FBI agent who flirts with the wrong side of the law.

As hilarious as it is, The Favourite doesn’t skimp on impressive costuming and production design, and the film gamely tackles class and gender themes, as well as partisan politics, in its tale of women behaving badly and men being nitwits.

One of the rare important teen films that needs to be seen by everybody.

Just like the first one, Guardians of the Galaxy Vol. 2 is a winning and wonderfully relatable gem of crazy.

With a pair of Hollywood gunslingers, a few solid twists and plenty of bullets, The Harder They Fall is a shoot-’em-up to remember.

Wickedly hilarious.

The Revenant is the most intense thing you’ll enjoy over the holidays this side of family dinners.

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.

The period drama The Power of the Dog is a picturesque, enthralling exploration of male ego and toxic masculinity, crafted by an extremely talented woman and offering enough nuanced bite to keep it interesting till the very end.

The musical's ultimately feel-good narrative hinges on Barrino’s deft navigation of a gut-wrenching character arc – and she can still belt like a champ.

The way it explores at length the sweet and sour aspects of first love is worth savoring.

While Holdovers is plenty funny, Payne’s film – as with his “Sideways” – skillfully balances the humor with headier themes of personal loss, family strife and mental health.

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 a slightly insane, hilariously daring and often touching mashup of everything that makes super-flicks so darn popular with the introduction of a Spider-Man who's ready-made for today’s generation of kids.

John Wick: Chapter 4 delivers on the ballet of bullets and fiesta of firearms you expect while also successfully showcasing the dynamic, reluctantly unretired title hitman as a real underdog.

In addition to reprising his role as Adonis Creed, Jordan packs his directorial debut with the usual “Rocky” melodrama and bombastic ring entrances while freshening the series with stylish, anime-influenced fights and a new spotlight on deaf representation.

The latest excellent effort for writer/director Bong Joon-ho (“The Host,” “Okja”) is a more entertaining version of “Roma,” an Oscar-ready, slice-of-life foreign film that challenges its audience to look inward.

Easily the best Wolverine outing, Logan is The Dark Knight of the mutant-filled X-franchise, a gripping film that transcends the comic-book genre by saying something important — and for Logan, that means coming to grips with needing loved ones in his life.

Director Denis Villeneuve's Dune: Part Two bests his first 2021 epic, based on the classic Frank Herbert novels, in every significant way.

The film's big breakout is Monáe, the Grammy-winning musician who impressed in a small role in Moonlight but showcases a wealth of talent as the youngest and most opinionated of the three main women.

While it’s not the greatest Marvel effort — that honor goes to the previous Captain America: The Winter Soldier — Civil War does pull outstanding performances from its two franchise faces, Chris Evans and Robert Downey Jr.

Add in a plethora of memorable lines ready-made to repeat with friends and a movie-stealing turn from Lynch, and Bottoms is the kind of go-for-broke, satisfying cult treat that can totally beat up your favorite teen classic.

While there are plenty of obstacles and things going vroom, the two reasons "Ford" works so very well are named Damon and Bale: They're endlessly entertaining as loyal dudes who work out their differences through brotherly roughhousing.

The Last Jedi tries to do a little too much in its overlong 2½ hours, yet writer/director Rian Johnson still turns in a stellar entry that owes much to George Lucas’ original films while finding a signature vibe of its own and unleashing a few welcome twists.

Though Linklater isn’t subtle when it comes to his lesson plan — the theme of the movie is, in fact, written on a chalkboard — he gives you a squad of guys whose good times and fun personalities will leave you wanting some more.

Unsurprisingly, the finale is manipulative in every way, squeezing out the emotions of the audience. But Lion’s well-plotted narrative and thoughtful characters suck you in so much that the journey there is totally worth it.

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 "Hamilton" creator and the island personalities of Moana make beautiful music together in this charming seafaring epic.

The worst thing you can say about the brilliantly zany teen comedy Booksmart is that you get only an hour and 45 minutes with its quirky student body.

Hustlers is empathetic and understanding in the way it looks at sex workers as also single moms and women just trying to get by in a world where the rich seemingly only get richer. It also works as an enjoyable, empowering extravaganza of physical humor, clever script writing, exquisite fashion and scantily clad underdogs.

It’s the master class put on by Viggo Mortensen and Mahershala Ali that powers this moving and often hilarious work and gives it mass appeal.

The best of Lee’s joints straddle the history that’s happened and the history being written now, and Da 5 Bloods successfully follows suit with themes of modern civil unrest and activism existing alongside images of Vietnam hero Milton L. Olive III and activist Angela Davis.

The iconic first lady is given emotional complexity and rich understanding through a stirring and ambitious performance by Natalie Portman.

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.

[Del Toro's] wonderful new take on the classic tale is the most essential adaptation of Carlo Collodi’s novel since Walt Disney’s 1940 cartoon masterpiece, with a practically perfect mix of tragedy, comedy, adventure, parental worries, societal expectations, childhood precociousness and antiwar leanings.

It’s easy to fall for these “Widows” when themes of class, religion, grief, gender, injustice and race are married to terrific action sequences and a gang of looting ladies stealing the show.

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

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.

“Barbie” is really an insightful exploration of humanity, the meaning of life and the cognitive dissonance of a woman living in the patriarchy, all with a really big heart and style to spare.

Compared to its ilk, Suicide Squad is an excellently quirky, proudly raised middle finger to the staid superhero-movie establishment.

The sequel both honors and reimagines the Spider-Man mythos for a new generation of movie fans with an artistic bent, a love for its characters and a willingness to break the rules to create something special.

Spike Lee has been trying to get people to do the right thing for years, but with Chi-Raq, he solidifies a peaceful movie message in lyrical as well as powerful fashion.

The new “Black Panther” celebrates and honors its fallen hero, at the same time showing that this corner of the MCU remains in extremely capable hands.

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 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.

What's wonderfully explored here, though, isn't the killer streak, but instead the gravity of taking a darker path and being left at the end with nothing but bloody memories.

Washington (son of Denzel) has an impressive Afro and winning charisma as the first black cop in town.

Hawkins is terrific in her silent role, using her expressive face to sell Elisa’s dive into love and the complications that arise. Spencer is great, too, as the other half of that duo.

The combination of the adventurous Spielbergian lens and a dynamite John Williams score jazzes up the most mundane newspaper conventions, from a copy editor striking words with a red pen to trucks rolling out with first editions. If only the same heroic anthems accompanied the writing of a movie review.

None of this works without Stone, though. She’s got the comic timing for the lighter scenes as well as the acting chops to pull off the character’s psychological transformation and personal reckoning.

Battle of the Sexes is less an issues movie and more an entertaining history lesson, with Stone and Carell proving they're a winning match.

It's Clooney's most poignant role in some time, and one he was bred, if not born, to play.

With both physicality and line delivery, Stone evolves this refreshing character with every new experience.

It is definitely the summer for talking animals taking over the cinema, but Kubo manages to rise above the rest of its peers with a wondrous coming-of-age tale full of ancient soul.

The fantastic, funny and heartfelt dramedy CODA doesn’t astound by breaking the mold of teen romances and coming-of-age tales. Instead, its brilliance lies in combining these well-tread tropes with an important sense of inclusion for a sweet story that truly sings.

In creating the film, Chung pulled from his own childhood growing up in Arkansas, and Minari works because it feels so personal as you root for a fragmented family weathering resentment and heartbreak in an uplifting and very universal tale.

The truly excellent Long Shot is both clever comedy and modern fairy tale that owes a lot to “Pretty Woman” and “The American President,” though it swaps gender stereotypes.

It’s the kind of film where everybody will have their own favorite characters and riotous episodes but it doesn’t need A-list cameos or needle drops to make a mark – though it does boast one instantly memorable K-pop remix of a Cardi B hit.

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.

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.

As insanely cool as the aerial dogfight scenes were in the original, the sequel’s action sequences levels them up with unreal camera angles and nonstop tension.

It could have been an unholy mess, but with directors Anthony and Joe Russo at the helm, Infinity War is instead a glorious, multilayered and clever comic-book adventure with loads of emotional stakes and a perfect foe for Earth’s mightiest heroes.

“Live by Night” aside, Affleck’s directorial record is pretty impressive and Air feels like his most inspired effort to date, an underdog story with the greatest basketball player of all time at its heart.

What makes the vivid film such an astounding effort – and one of the year's best movies – is that it’s edited seamlessly as one continuous real-time take, following a couple of Brits through rat-infested trenches, sniper-filled towns and even empty battlefields where the Grim Reaper’s been busy yet danger still looms.

Rollicking and heartbreaking in equal measure, the period musical drama Ma Rainey’s Black Bottom plays all the right notes, from Viola Davis mightily singing the blues to a brilliant, shattering final performance from the late Chadwick Boseman.

Sorkin's script is clever and knowing — at one point late in the proceedings, Jobs wonders aloud why “everybody gets drunk” and takes him to task five minutes before every event. It's a small moment that breaks the fourth wall in the slightest and smartest of ways.

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.

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.

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

It’s breezy and hilarious yet offers enough heartfelt gravitas to give the feel-good date movie needed emotional heft.

The supporting cast is an embarrassment of riches for Scott, and Chastain is particularly strong as the concerned commander of the mission. Yet this is most definitely Damon’s movie and a throwback to the unabashed idealism of Hollywood past.

With punk-rock flair and no four-letter word left behind, the exuberantly rebellious I, Tonya takes a club to the biopic genre.

This is pretty much Burton doing an "X-Men" movie, with a plucky yesteryear vibe and evil Samuel L. Jackson thrown in for extra fun.

Coco is one of Pixar’s most gorgeously animated outings in some time.

Like most anthologies, some segments are better than others but they all highlight different inspirations Anderson’s woven together for a delightful cinematic sampler.

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.

The acting performances are stellar across the board, though the biggest joy of Little Women is Gerwig’s magnificent screenplay.

It winds up working as a ominous climax, however, and you’re left wanting to avoid any and all farm animals for a while — which for this excellent piece of filmmaking is high praise.

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

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.

Renner, in one of his best roles, lends a weathered depth to Cory but also surprising intelligence to the character deemed “Sherlock Snow.”

One of the deeper and most thoughtful projects in Scorsese’s career. It feels as though his entire Hollywood career has culminated in this grand quest, which while excessively long, effectively explores the brutal costs of unbending faith.

Banshees masterfully explores the complications of a platonic friendship – when old pals stop being polite and start getting real – with a sailor’s mouth and a mix of hilarity and tragedy in one wail of a tale.

Powered by Blanchett’s baton-wielding tour de force, the film is a modern tale about a cultural giant who uses her power in not-so-great fashion, so there’s shades of #MeToo at play. However, Tár has more of a timeless quality, playing out in the style of a Greek tragedy with the epic downfall of a woman behaving badly.

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.

When all cylinders are pumping, Baby Driver is an enchanting experiment that puts the pedal to the metal. And even a few off notes can’t stop the beat of Wright’s fast and furious symphony.

With good guys aplenty and a big heart, The Flash pens a love letter to DC superhero movies past, though the film runs around in circles trying to make it all work.

Irresistible lives up to its title with an enchanting twist on a well-trod narrative and thankfully brings back the gifted satirical mind that our crazy world has sorely missed.

By staying true only to the initial narrative, this Halloween solidly ranks as the best chapter since the first – not exactly the highest bar – mostly by making Laurie (a remarkable Jamie Lee Curtis, whose last appearance in the series was 2002's "Halloween: Resurrection") anything but a victim.

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

While the new “Ralph” falls short of the original’s brilliance, any adventure with the big oaf and his glitchy BFF is #winning.

Roma is an elegiac and moving work driven by Aparicio’s understated and nuanced performance.

When Sorkin does go off on side episodes, they’re for the greater good. Molly’s dealings with a nihilistic and smarmy A-list movie star (Michael Cera), a gambler (Bill Camp) who loses his cool, and the drunk Irishman (Chris O‘Dowd) responsible for pulling the Russian mafia into her games actually boost the overall narrative rather than cannibalize it.

Even for hardcore fans, Wish comes close to overdoing it with the, well, Disney-ness. That’s when Oscar winner Ariana DeBose (“West Side Story”) becomes the movie’s saving grace, as a likable, idealistic teen heroine with plucky verve and powerhouse vocals.

It mostly works – Hanks is ostensibly a supporting player and noticeably missed when not onscreen – and Heller’s creativity proves just as key as her star. “A Beautiful Day” acts as a two-hour episode of “Mister Rogers’ Neighborhood” for grown-ups, a meta-narrative showing the real world through a kids' show lens and Hanks’ Rogers sitting us all down for an educational experience.

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.

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.

While not quite as subversive and refreshing as the first “Trolls,” “World Tour” offers endless cuteness, an impressive voice cast and just enough depth for grownups and children alike to chew on.

A pretty good “Chapter 3” still equals insanely explosive, two-fisted exhilaration.

Old-school Potterheads will rejoice, though fans of the charmingly quirky group of heroes from the first “Beasts” may lament their do-gooders getting lost in a growing magical landscape.

Although overly familiar, “Dominion” boasts everything you’d ever want in a “Jurassic” film and is the best in the series since the original 1993 movie.

Even with some familiar faces, The Stanford Prison Experiment feels like an honest-to-goodness documentary — a high compliment for a movie based on an infamous college project.

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.

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.

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.

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.

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.

It’s a bigger, showier follow-up, from the A-list cast to the twistier twists, even if it doesn’t have the same witty punch as the original. The script is taut and surprising, though, and Daniel Craig's return as super-sleuth Benoit Blanc is a Southern-fried godsend.

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.”

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.

As funny and bitingly satirical as one would expect from his Key & Peele sketches.

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.

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

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.

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.

An artsy display put on by Kaufman and fellow co-director Duke Johnson that raises the level of the genre, though it sometimes tries to enjoy its individual oddity too much chronicling one night in a bored businessman’s life.

Produced by horror masters Jason Blum and James Wan ("The Conjuring"), M3GAN satisfies with slasher gusto, “Black Mirror”-esque satire and social media savvy. It’s also just plain fun to watch a film that packs a healthy amount of absurdity alongside an insightful exploration of 21st-century parenting, though you might never trust Alexa ever again afterward.

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.

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.

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.

Based on the popular role-playing game and far better than that forgettable 2000 “D&D” big-screen outing, “Thieves” is a clever and often hilarious action adventure that overcomes pacing issues with well-crafted characters and a host of wondrous creatures both stunning and icky.

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).

Warcraft wins by not trying to be the second coming of a 10-hour cinematic trip through Mordor with Hobbits and jewelry. Rather, it’s a simpler, yet still wholly entertaining tale of magic and larger-than-life soldiers in a battle for survival.

Derrickson (Sinister) crafts a trippy phantasmagoria for Strange to fly screaming through as he begins his path to sorcerer supreme. The only thing missing is a Doors jam as the sequence unfolds a dizzying blend of psychedelia, geometric oddities and nightmarish dreamscapes.

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.

Although entertaining throughout, it suffers from a certain lack of focus – bouncing from screwball humor to war-movie gravitas – before settling into a buoyant conspiracy thriller with real-life historical relevance and a satisfying exploration of friendship and kindness.

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.

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

Pitt is undoubtedly luminous as the brightest star of Ad Astra, an engaging and even hopeful exploration about the consistency of human feelings, no matter where you are in the galaxy.

A solid courtroom drama that most fans of the genre have seen before. But great acting, an engaging real-life tale and moments of heartfelt honesty – with a fair bit of rousing satisfaction – elevate director Destin Daniel Cretton’s true-life story.

As the debuting title superhero and a new champ for representation, Liu exudes likability, swagger and depth – plus forms a great buddy-action combo with co-star Awkwafina – and “Shang-Chi” really cooks when he’s in a street-fighting groove. However, director/co-writer Destin Daniel Cretton’s ambitious adventure loses some of that storytelling momentum when diving into its involved mythology.

Joker is at times predictable and too familiar given the source material, yet it splendidly captures the essence of the iconic bad guy as a frighteningly unreliable narrator in the movie’s best moments.

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.

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.

Katniss and Tris might still be queen bees of the genre, but Thomas (Dylan O’Brien) and his fellow Gladers find a satisfying, teen-friendly way to combine rebellion, politics, science and a lot of jogging for a broad audience.

A dreamy homage to old-school Hollywood as well as a haunting, female-driven psychological thriller with deep mystery and satisfying twists

Captures the complete exhaustion of parenthood in funny and profound fashion.

The Hunt is definitely controversial, but it’s an equal-opportunity offender that forgoes partisanship to poke bloody, gory fun at everybody.

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

From the bizarre opening (featuring a plethora of naked obese women) to the film’s parallel narratives conceit, there's no shortage of style, though incoherence butts in from time to time.

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.

Mission: Impossible — Rogue Nation doubles as a two-hour celebrity episode of American Ninja Warrior for Tom Cruise.

It does deliver on the mayhem front.

Cronenberg has crafted a story that brings together what we do to our bodies to feel and look good – though that’s sometimes in the eye of the beholder – and the synthetic materials that play a key role in both our modern lives and environmental crises.

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.

Ben Affleck brings needed nuance to old-fashioned brains and brawn as an action hero with high-functioning autism in The Accountant.

The sci-fi survival horror sequel A Quiet Place Part II doesn’t quite live up to the refreshing feel or innovative novelty of the original 2018 hit, where silence is truly golden in a post-apocalyptic existence full of blind creatures that attack noisy things and noisier humans. But the creatures are still freaky, the soundscapes are still interesting, Emily Blunt is still the second coming of Sigourney Weaver and this time the storyline expands the world, plus lets the kids shoulder some of the live-or-die derring-do. It also works as one heck of a chilling fix for audiences dipping their toes back into reopened cinemas.

While not phenomenal, especially compared to the rest of the Spielberg oeuvre, Spies still hits the spot.

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.

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.

There's a lot thrown in here for two hours, and Apatow could easily have lost about 30 minutes of high jinks and gotten the point across that everybody has their somebody. Yet with Schumer driving the action, Trainwreck may be his most impactful ride yet.

This Lion King is akin to a revival of an iconic Broadway musical, with an all-star cast and a few welcome improvements but lacking a certain magic and originality.

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.

While the narrative doesn’t totally land, the voice cast is solid and the vibe is consistently joyous.

Dial of Destiny is a solid Indiana Jones adventure that ultimately dodges the giant boulder of expectations. But as a franchise closer, it’s an anticlimactic affair that, while not a memorably rousing last crusade, at least bids Indy adieu in an emotionally satisfying fashion.

Does a decent job living up to a legendary predecessor. Original star Ellen Burstyn returns in the latest film, which also goes all in exploring every parent’s deepest fears, but while it tries admirably, “Believer” is nowhere near as profoundly scary as William Friedkin’s genre-defining chiller.

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

This heavenly action-comedy takes on familiar elements of John Wick and James Bond but is sufficiently empowering – “Women can do anything” is literally the first line in the movie. There's also an unexpectedly dark edge throughout for the new "Angels," from gallows humor to actual dangerous stakes for our butt-kicking crew.

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

What makes the new psychological thriller Antebellum effective, however, is not just studying the past of America’s original sin but deftly showing how it still paints our present day.

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.

Imagine if “The Phantom Menace” was better than every episode of George Lucas’ original “Star Wars” trilogy. Kind of bonkers to think about, right? But that’s pretty much the situation with “The Hunger Games: The Ballad of Songbirds and Snakes”, an enticing blend of dystopian action epic and musical drama that surpasses the previous films starring Jennifer Lawrence.

It’s not really a horror movie, although it is plenty horrifying. It’s a love story that’s devoid of sentimentality and romance. And it’s also quite funny at times, though you’re never quite sure the laughs are because of the gallows humor or simply a defense mechanism to keep one’s sanity.

While Deepwater Horizon effectively shows its mettle as a proper action film, it goes the extra mile and drills a little deeper to unearth a lot of heart as well.

A proudly ridiculous yet sincerely enjoyable exercise of putting wacky characters in the war path of a dangerous (and very high) beast. The “Citizen Kane” of coked-out bear movies is not perfect by any stretch but like its furry star, the film is scrappy and hungry while owning its throwback absurdity.

BvS will please those either waiting for the two main players to lock horns on a movie screen, or those who've just been pining for Wonder Woman forever. And for the nerdier crowds, a fleeting glimpse at other superheroes hints this is the Dawn of something potentially sensational.

Serving as an “Endgame” epilogue, director Jon Watts’ sequel isn’t as tightly focused or effortlessly charming as 2017’s “Homecoming,” yet it continues Holland’s amazing Spidey run and introduces Jake Gyllenhaal in his top-notch first comic-book role.

For the most part a no-frills, almost sedate affair, the drama finds its real power in two strong lead performances.

The cast is superb, especially King.

Strays is definitely a treat, especially for dog lovers who will howl with laughter and also cry at its empathetic understanding that we all, furry or otherwise, just want to be loved.

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.

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.