Brian Truitt

Directed by Jason Woliner, Borat Subsequent Moviefilm features an unexpectedly strong ending that at least pays off some of the sweeter aspects of the family dynamic, plus wraps up on an activist note... And while Cohen can be a great “serious” actor when he wants (see: “The Trial of the Chicago 7”), the absolute commitment to the over-the-top Borat persona continues to be admirable.

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

A feel-good, all-star monster mash with a low-key smackdown on bullying and a major focus on being as goofy as possible.

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

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.

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.

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.

While Face the Music is best when you don’t think about it too hard, it's also a movie that knows exactly what it is and doesn’t bother to have an insincere moment.

It’s cute and heartfelt at times, though the adventure by director Thea Sharrock (“Me Before You”) can’t decide between being a fun-filled romp or an animal-rights drama.

There are some scattered laughs but it's not particularly funny, and American Pickle is generally all over the place, aiming to be an abstract comedy about family and religion but losing its way trying to also poke fun at modern culture.

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

Old Guard feels fresher as a high-minded treatise on mortality and loss than a superhero-y franchise-starter.

Would it have been better to be in the room where it happened? Sure, the magic of watching excellent musical theater happening in front of you is impossible to re-create. But as the recent “Cats” movie proved, sometimes veering too off-course from the stage production isn’t great, either, so why not embrace a filmed version of this spectacular thing?

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.

Rather than being a massive foul-up, Artemis Fowl is a sufficient spycraft fantasy that could benefit from the inevitable sequel, and Gad proves once again to be the Mouse House’s Dwayne Johnson, a rock-solid personality who makes everything around him better.

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.

Scooby has quite a history to which “Scoob!” pays homage, though it seems to have missed the most basic lessons.

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.

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.

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

The best thing O’Connor does here, as he also did with the underrated “The Accountant,” is let Affleck remind us once again that he’s a first-class actor – just in case anyone forgot after his brief stint in an infamous cape and cowl.

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.

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.

At least Harrison Ford does his grizzled best to ground a hybrid film awash in computer-generated animals and visual pizzazz.

The film is fine, familiar fare for gamers and children: Sonic sprints, Carrey mugs, but the creative juices run out quickly.

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.

Lively pulls off one of her best movie roles so far – ranking up there with her surprisingly delicious shark flick “The Shallows” – and is surrounded by plenty of visual spectacle, yet is waylaid by a narrative that lacks excitement. Even the twists seem painfully ordinary.