Brian Truitt

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.

Directed by Lee Isaac Chung, “Twisters” is a monster truck of a summer movie, an often-enjoyable ride rocking a “Hell yeah, science rules!” bumper sticker that gets stuck in muddy subplots and looking at the original in its rear-view mirror.

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

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.

It does deliver on the mayhem front.

There’s a scrappiness to Atlas that pairs well with a human/machine bonding narrative and a fish-out-of-water Lopez trying to figure out how to work a super cool, high-tech armored suit and not die spectacularly.

The movie is a unicorn of sorts, a pure and perfect action flick with post-apocalyptic hot rods, gorgeous demolition-derby carnage and demented confidence.

Like “Donnie Darko” or David Lynch’s entire oeuvre, “Glow”... blends the real and the surreal in a neon-drenched nightmare that leaves a trail of thematic breadcrumbs for its audience.

There’s a refreshing whiff of whimsy and playful originality to writer/director John Krasinski’s big-hearted fantasy.

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

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.

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.

The Ministry of Ungentlemanly Warfare does well with its “Superman and Reacher kill Nazis” vibe before overcomplicating the matter. Yet the biggest issue with director Guy Ritchie’s World War II action comedy is it doesn’t know what kind of movie it wants to be.

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

In his directorial debut “Monkey Man,” Dev Patel gifts action-movie fans with a multilayered, hyperviolent narrative. Sure, he pulls off a deep dive into Indian mythology, yet he's pretty darn good at attacking goons with fireworks, platform shoes and all manner of sharp objects too.

Alongside familiar faces and newcomers, “Frozen Empire” rolls out a new supernatural big bad and more horror than the series has done in the past, yet it still often struggles to find freshness and recapture old magic.

Love Lies Bleeding is a blood-soaked throwback to '80s erotic thrillers and action cinema but also Glass’ deconstruction of cinematic hypermasculinity through a female lens.

The women in Coen brothers’ movies are usually the much smarter gender, as it is with “Dolls,” where Joel Coen and Cooke’s script creates a tight-knit relationship between its heroines that’s an absolute delight to watch, surrounded by goofball personalities and a healthy amount of campiness. It’s a playfully madcap turn on the “Thelma & Louise” model, and if Jamie and Marian decided to drive off a cliff, you’d want to be in that Dodge with them.

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

If only a psychic could have warned us about these wretched Spider-Man spinoffs.

From “Freaky” to the upcoming “Abigail,” Newton is quickly becoming one of horror’s freshest faces, and “Riverdale” veteran Sprouse showcases a gift for physical comedy with what amounts to a silent-movie role. His Creature alone is worth the watch, though the movie’s breakout gem is Soberano, who brings scene-stealing verve as the protective Taffy gets caught up in her sibling’s shady business.

On the whole, Argylle just isn’t as exciting or refreshing as what Vaughn did with his stellar “Kingsman: The Secret Service."

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.

With I.S.S., the talented songstress takes a giant leap forward as a solid action hero amid a decently gripping mix of human nature and atomic annihilation.

The new “Girls” sticks to the script plotwise, to a slavish degree. Even Fey and Tim Meadows playing their old teacher roles seems forced and uninspired. It’s only when the movie remembers it’s a musical that it refreshingly breaks from the norm.

Maestro offers a counterpoint of sorts to last year’s “Tár.” Whereas Cate Blanchett’s look at a fictional conductor is a more insightful look at the complicated aspects of artistry, Cooper’s work succeeds in bringing an American legend to life while also examining his humanity.

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.

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.