Brian Truitt

Annette attempts to be an avant-garde rock opera, a farce about modern star culture and a tragic family drama all in one bizarre, head-scratching concoction, and not even a revved-up Driver or songs by the cult art-pop group Sparks can lift the film to its lofty aims.

Returning director Peyton Reed pumps in enough family bonding and signature whimsy to complement the massive world building and a new time-traveling big bad played by a terrific Jonathan Majors. Laying important groundwork for Marvel’s film future unfortunately means losing some of the franchise’s essential scrappy charm.

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.

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

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.

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.

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.

Moviegoers may wish that Will Ferrell's megalomaniacal supervillain Mugatu had won in the first Zoolander and saved us from another film with these boneheads.

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.

Peanuts is all about simplicity, and what the plot lacks in nuance and complexity is made up for with relatable characters whom people have spent a lifetime watching.