Brian Truitt

While You, Me & Tuscany doesn’t add anything significantly new or innovative to the rom-com recipe – and certainly doesn’t blow up the thing like The Drama – it’s a breezy respite for those who dig the familiar in their escapist pleasure.

The Drama is a moral thought experiment conducted amid a disaster-filled deconstruction of the romantic comedy. And given the plot's somewhat jaw-dropping twist, it’s also one of the boldest, brashest movies in some time.

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.

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.

There are elements borrowed from B-movie horror flicks, crime dramas, Broadway musicals and love stories, mashed together in bold and bizarre strokes. And while imperfections exist in the violent, genre-defying romance, they don’t dim Gyllenhaal’s clear-eyed passion, grand ideas and big swings spattered on the screen.

The joyous gallows humor and horror-movie commentary of old are gone and some inspired working-in of new technology falls apart.

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

“Killing” clumsily flits between wry humor and serious drama for much of the runtime before finally finding its satirical bite.

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.

The film aims to be a Gen Z/millennial “This Is Spinal Tap” but with much less clever wit and way more vocal fry.

While it does offer an extremely flattering view of all things Melania, outside of a few candid glimpses, you're not really going to learn a lot about who she really is.

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

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.

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.

Fortunately, Hudson and Hugh Jackman, in total showman mode, make up for the narrative shortcomings as the '90s dynamite duo Lightning & Thunder.

Steamy, twisty, demented and not exactly subtle in its aim to entertain film fans and BookTok alike. Director Paul Feig’s movie doesn’t hit all the marks of its addictive source material, but the thing is plenty wild enough to be a holiday guilty pleasure.

James Cameron’s third adventure in his blockbuster sci-fi franchise, is just as cool a watch as the previous films, yet also as narratively frustrating. Endless subplots, scattershot character development and borrowed story beats backfire on “Fire and Ash,” although it does benefit from an unhinged but relatable villain whose presence keeps it interesting.

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

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.

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

A lively, satirical stab at modern-day reality TV, scary big-brother technology, cultural dissension and rampant income inequality, all slathered in blood-soaked ultraviolence and bonkers charm. And don’t worry, old-school Arnold lovers: It’s so insanely different from the original movie that you can adore one without losing any love for the other.

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

While tonally jumbled and at times violently jarring, the movie delivers strange vibes and extremely strong performances from Jesse Plemons at his oddball finest and Emma Stone, who may or may not be from our planet.

Even with an administration full of smart, capable people, no one is properly prepared when nuclear weaponry is triggered, and “A House of Dynamite” puts an extremely human spin on that particular no-win situation.

The flick, based on Hoover’s best-selling novel, lays it on thick alongside a lacking narrative and cringey dialogue. On the plus side, the young acting talent and a welcome lightheartedness will keep the eye-rolling to a minimum.

Deliver Me From Nowhere is the solid portrait of an artist working through some stuff, and a man learning the power of being the Boss.

Aziz Ansari’s directorial debut, the comedy “Good Fortune” would have been just fine as a lively two-hander with Ansari and Seth Rogen that acts as a funny, often insightful exploration of the modern gig economy. It’s Reeves, though, who literally comes down from heaven (actually, more often a rooftop) to be the supernatural presence the movie needs to be something special.

There aren't enough movie musicals in general, and especially not enough that experiment with the form like “Spider Woman.” With a satisfying tale that leans timely given the film’s political bent and a knockout performance by Tonatiuh, it might even weave you breathless.

Beat-thumping techno songs and score by Nine Inch Nails help it all go down easier, as does OG “Tron” guy Jeff Bridges dude-ing up a few scenes, but traveling to that nifty high-tech landscape in this third "Tron" outing has become a chore rather than a pleasure.

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).

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.

What’s explosive doesn’t always equate to propulsive, however, in a stuffed narrative with pacing issues and a plot that doesn’t need two hours and 40 minutes to make its point.

It’s the kind of thing you’d bet would be emotionally manipulative – if only, because that'd be welcome compared to this emotionally disconnecting, sporadically nuanced narrative.

Rather than being an entertaining trainwreck, the finale nihilistically undermines all the good and thoughtful stuff that came before, doing the couple dirtier than they ever could to each other.

Although they haven’t collaborated in a while, this teaming of old friends Lee and Washington soars once it gets cooking.

It’s an ambitious move, trying to recreate a comedy style so iconic and specific. The cast all commit to the bit with 435% silliness, the old deadpan humor is still there and when the right jokes hit, they’ll leave you in literal tears, even if overall this update doesn’t arrest you as much as it tries hard to make you laugh for 85 minutes straight. (And some folks totally will.)

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.

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.

Heads of State is a bomb pop of a summer movie. It works as a fizzy, somewhat kid-friendly throwback to action-packed ‘80s partnerships – think “Tango & Cash” or “Lethal Weapon” – that doesn’t take itself too seriously and, for a starry streaming action flick, thankfully isn’t a lame duck.

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.

Rather than being clever like the original movie, a horror-tinged sci-fi satire/parental cautionary tale, sequel "M3GAN 2.0" is the type of combo goofy comedy/undercooked action flick that would earn an epic sick burn from M3GAN herself.

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.

Both embracing and deconstructing the genre, "Materialists" is a well-acted affair with three A-list leads – Johnson, Chris Evans and Pedro Pascal – and while certainly thoughtful, the film's strengths are upended by a mood-murdering melancholy.

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.

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.

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 all-star swing that doesn’t totally connect, and is not even the most interesting variation on a theme here. Fortunately, the movie’s fresh-faced protagonist is likable enough to forgive its bumps and bruises.

That old “Ohana means family” riff still hits right in the feels, though what this latest outing lacks most is the first film’s electric charm.

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.

Storywise, it’s a solid if overlong tale of family and redemption – fans of “Yellowstone” or “Horizon” will find stuff to love. Where “Rust” stands out is in its look, a gorgeously shot production with an emphasis on contrasts and dark colors that’s a testament to the talents of Hutchins and fellow cinematographer Bianca Cline.

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.

Let Jason Statham wreck dudes with “The Beekeeper” and “A Working Man,” and let Affleck be a role model for empathetic masculinity – who can still wreck dudes if needed – with “The Accountant” movies.

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.

[Kidman's] Lifetime-esque potboiler centers on a bored working mom who discovers her husband might not be on the level, but while the locale is postcard idyllic, the narrative is a never-ending slog, only getting halfway interesting with a silly third-act twist and a suddenly bloody finale.

The better-than-expected revamp strips away some of the forgettable matter – no charming princes here! Most importantly, "White" gives an inspired Rachel Zegler a different character arc and a smattering of original songs to let Snow strut as the fairest of them all.

Pratt can do lovable rogue in his sleep at this point, and Brown’s got a spunky young woman down pat. Both of them have some good lines and emotional moments but they mostly feel plug-and-play rather than mining anything new and exciting.

If this is Bong’s take on a Hollywood space blockbuster, it’s better than most. “Mickey 17,” led by a quirky underdog, offers a timely escape where empathy can overcome cruelty on the other side of the galaxy.

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.

The fact that Mackie puts the thing on his own mighty shoulders (with some help from talented castmates) and keeps it watchable is a minor miracle.

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.

It’s a bizarrely off-kilter affair that’s forcibly heartfelt and sentimental in one scene and overly mean-spirited in the next, and not even a few choice moments and some enjoyable surrounding weirdos can help two A-listers in way over their heads.

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.

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.

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

That Circle of Life everybody was singing about three decades ago? Thanks to Jenkins’ inimitable grace and Miranda’s tuneful swagger, it continues to feel vibrant.

The melodrama is packed with more style – so, so much style – than narrative substance, though Jolie...fully commits to the role both emotionally and musically.

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 follow-up plots an extremely familiar course but at least does so with fresh new personalities and more inspired Pacific Island influence.

As one might say in Oz, “Wicked” is thrillifying in its melodiousness even if overlongical and ponderrific.

Earnest to the point of stultifying, “Red One” offers a busy landscape of plastic action figures come to life, visually appealing and plenty colorful, though as hard as it tries, the movie doesn’t deliver the joy and emotion you’d want in a seasonal treat.

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

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.

This overly sentimental, unduly earnest journey based on Richard McGuire's graphic novel is more gimmick than substance, one overflowing with moments and characters that proves ultimately unfulfilling.

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 result is another middling comic-book adventure for the fan-favorite Spider-Man antihero that leans kooky and earnest and even saps some of its title character’s bite, though does give the snarling Venom a new aspect: a big baddie daddy.

A film like, say, all-time weepie cancer tale “Love Story” crescendos toward the eventual waterworks – while it may leave some looking for a tissue, “We Live in Time” ends up thwarting rather than boosting that catharsis.

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.

While “Folie à Deux” embraces a heightened, even cartoonish quality in continuing the story of Phoenix’s troubled soul, Phillips really misses a chance to go full musical and do something truly different. Just dipping its toes in that genre, with those strong performers, is enough to drive you mad.

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

While the movie overcomplicates matters as the plot tosses in assorted criminal types and various twists, the leads always keep it watchable just riffing off each other with verbal barbs and sharp looks as their unnamed characters’ icy relationship melts and they find a mutual respect.

The sequel Beetlejuice Beetlejuice boasts a big heart and fleeting moments of inspired fun, often featuring Keaton’s moldy-faced menace. Compared to the brilliant original, however, the overstuffed follow-up lacks the same unhinged, kooky magic.

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.

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.

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.

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

Wilder remains the gold standard of Wonka-dom. Yet there’s little connective tissue between his mad genius ― which featured a snarky edge and a hint of darkness ― and Chalamet’s version, who likely would never let a child blow up into a ginormous blueberry.

Satirical comedy, battlefield brutality and personal tragedy mix yet never completely gel in Napoleon, a biopic starring Joaquin Phoenix as the mercurial title character.

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.

As stylish and cool as the director’s other high-class cinematic efforts, the pulpy goodness of The Killer is straight up more fun than a lot of Fincher outings, thanks to a dark sense of humor and Michael Fassbender's enjoyably droll assassin.

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.

Directed by Nia DaCosta (“Candyman”), Marvels throws a ton of plot at viewers that too often falls back to Marvel-y familiarity – world-saving stakes, villain with a light-up doodad – yet enjoyably soars when it centers on its core trio and dares to go gonzo.

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.

“Elvis” is zippy and energetic while Priscilla is methodical, bordering on sedate. However, the biggest sin with Priscilla is Coppola never really digs into her wants and desires apart from Elvis.

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.

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 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.

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.

For his newest starry murder mystery, based on Christie’s “Hallowe’en Party,” Branagh challenges Poirot’s deductive mind and supernatural belief system and surrounds him with spookiness that can only spiff up a creaky plot and thin characters so much.

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.

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.

It’s a nifty change of pace for a main character’s superteam to include his parents and grandma instead of Batman and Wonder Woman.

Various spycraft tropes litter director Tom Harper’s globetrotting narrative, though Gadot’s charm offensive and her character’s righteous fervor help counter the film’s wilder plot swings.

Director Jeff Rowe (“The Mitchells vs. the Machines”) smartly casts actual teenagers as the main characters, makes them pop via a super-cool comic-book visual style and surrounds these familiar heroes in a half shell with a top-notch supporting cast. Best of all, it's the kind of zippy, 99-minute adventure bound to satisfy kids and adults alike in the cinematic doldrums of August.

Although it's a vast improvement from its early aughts predecessor (not exactly a high bar to cross), this ghoulish gathering is a family-friendly affair that's awfully vanilla when it comes to both humor and scares.

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.

“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.

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.

Directed once again by Christopher McQuarrie, the seventh “M:I” is chock-full of gloriously bonkers stunt sequences, fresh and familiar faces alike, and Cruise running (usually literally) from one international locale to the next.

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.

The storytelling suffers from the weight of that ambition, though Elemental at least pulls off fun world-building a la “Zootopia” with a city where the residents – of fire, water, earth and air persuasions – reflect four different cultural groups and ethnicities and don’t always get along.

The series has thankfully, found its way out of the doldrums of the Michael Bay era and discovered a satisfying groove of nostalgic bliss. It’s still a whole lot of earnest diatribes, hokey zingers and assorted nonsense but it’s at least crowd-pleasing, candy-in-your-popcorn nonsense.

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.

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.

And while not everything goes swimmingly, Halle Bailey splendidly buoys this "Mermaid" as the naive underwater youngster with dreams of exploring the surface.

Both fun and frustrating, Fast X gets it in gear enough for a gutsy finale that leaves characters in serious peril. Yet with an end game in motion, and only one movie (perhaps two) left in this long-running franchise, it’s not the time to be stalling out this close to the finish line.

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

It’s a more demanding narrative to navigate than the director’s previous efforts, and not all of it works with its sly subtlety. Yet there’s sensational artistry at work, with Aster peppering much of his storytelling in the background of scenes (photos on walls, informative signs, etc.) that a lot of folks might not even notice.

There’s plenty to sink your teeth into when Cage is this superbly outrageous and manically inspired while Hoult, who’s got great comedic timing, is just as batty in his own way. Everything else about Renfield needs to go back in the coffin.

“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.

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.

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.

“Fury” piles on the mythos, monsters and magic, a smidge too heavily at times, but stays grounded, thanks to its earnestly goofy main man.

This “Scream” is neither king of the hill nor top of the heap, but you can’t be too mad at a picture that makes a cathartic treat out of a plunged knife in the eye.

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.

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.

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.

Tamer and what one could arguably call classier, this movie trades bromantic machismo and beefcake high jinks for female empowerment and character maturity, though still boasting hunky dudes and clothes being ripped off.

With a screenplay by Emily Halpern and Sarah Haskins – who worked on the genius “Booksmart” – it has a fun energy, especially when the main characters are left to their own devices, but often pumps the brakes before it goes too overboard.

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.

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.

Like Rami Malek’s Freddie Mercury in “Rhapsody,” Ackie’s own voice is heard at times though mainly she’s performing to Houston’s own signature vocals. And the actress does an exceptional job capturing the pop singer’s mannerisms and performance style in those moments. It’s everything else in between that’s the real problem.

Even with a great turn from Brad Pitt, an impressive showing by newcomer Diego Calva and a bunch of entertaining cameos, the madcap comedy-drama can’t help but run out of creative crazy juice by the end as it unspools into cinematic sentimentality.

It’s a gorgeous and stunning thing to look at, with awesome sights of underwater fauna, and the new movie is an emotionally charged outing that again dips into themes of colonization while adding environmental issues and relatable family drama.

[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.

The heart of the matter gets lost amid the action-movie elements – with shades of "The Revenant” and “Glory" – though a dedicated Smith emotionally steadies the film through its rougher spots.

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

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.

Unsurprisingly, Spielbergian wonder is sprinkled throughout the episodic Fabelmans. The movie starts out slow, though when the filmmaker gets to Sammy’s high school days, he finds that signature electricity so apparent in his blockbuster career.

An enjoyable piece of vibrant world building that steps away from the musical bent of recent non-Pixar efforts like “Encanto” and the “Frozen” flicks.

A riveting cinematic quest for journalistic truth – especially one like She Said, which tackles an issue that means so much to so many – should always be embraced, no matter the era.

All the contemporary wrapping, a dizzying array of tones (from screwball humor to cornball earnestness) and endless songs by “The Greatest Showman” duo Benj Pasek and Justin Paul winds up being like tinsel distracting from what works best: Will Ferrell as a determined phantom and Ryan Reynolds as his snarky Scrooge.

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.

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.

One doesn't put Roberts and Clooney together on screen without conjuring at least a little magic. But dusting off an old copy of her "America's Sweethearts" or his "One Fine Day" is more likely to scratch that rom-com itch.

This is Johnson’s baby, a film spotlighting a complicated antihero he has championed for years. It wins some battles and packs plenty of punch, yet it just can’t get past familiar tropes and flaws.

It’s a denouement that ventures too far afield from familiarity, a good-vs.-evil slugfest more complicated than it needs to be, and a “Halloween” flick that should go out with a roar but instead closes with a masked wheeze.

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.

The follow-up fails in every way, as a retread of the beloved ‘90s vehicle and as a youth-centered setup for future installments.

Although there are insightful moments and surreal bits that pop, it’s overall a bizarre – and at nearly three hours, bloated – film that attempts to honor its subject and instead lets her down.

While there’s a definite “The Stepford Wives” sort of vibe, the narrative themes (which do lean timely) lack subtlety and nuance. Thankfully, Pugh keeps it watchable as a young married woman trying to keep her sanity amidst a ton of gaslighting and constant doo-wop songs.

The over-the-top survival thriller definitely fits into the aesthetic of Hollywood’s August burn-off period, where bad (and so-bad-they’re-good) movies reign, though Elba’s charisma goes a long way in terms of enjoyability as do some hair-raising animal attacks.

Given its premise and title, you’d expect a zippy movie with some momentum, yet too many flashbacks and a surprising amount of chattiness in the overlong film slows everything down – at least until a crazy albeit satisfying finale where Leitch pretty much cuts the brakes and lets chaos take the wheel.

With "Nope," Peele showcases a new sense of blockbuster flair while maintaining his signature gift for twisted modern relevance.

If nothing else, though, the stylish and slick thriller brings sass to the secret-agent genre, and there are worse things than watching an evil Chris Evans try to murder Ryan Gosling for two hours.

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.

With Butler’s stellar portrayal, it’s never dull, and more enjoyable than not. The musical numbers are often dazzling, boosted by Luhrmann’s inimitable style. And the plot (for better and for worse) covers a ton of Presley’s life. But even when it’s over, you’re still not sure what Hanks is doing.

“Lightyear” is a crowd-pleasing effort that doesn’t shoot for the moon but manages to be a nostalgic blast anyway.

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.

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.

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.

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.

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.

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

The third installment of director David Yates’ “Harry Potter” period prequel series still is overstuffed with characters and subplots, yet polishes a few missteps from previous films. There’s a renewed emphasis on magical creatures and another decidedly political bent to the franchise as it digs into dark themes and offers a bewitching goofy side.

With Leto flying and jumping through New York City as a do-gooding bloodsucker with moral “Should I feast on my fellow man?” quandaries, “Morbius” is a lifeless slog with no real bite.

The Lost City isn’t a bad movie, and it’s sufficiently ridiculous for those seeking a gonzo escape with A-listers. You're just left wanting in general, be it extra Pitt or more ribaldry.

Shi crafts a heartwarming, empowering and fun narrative about female puberty and a changing mother/daughter relationship.

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.

It’s a rather impressive feat to bury Tom Holland’s considerable charisma, though that is one of the few aspects where his new film “Uncharted” actually succeeds.

Two years after the release of “Orient Express,” “Knives Out” reinvented the all-star murder mystery in a fun and refreshing fashion, and Branagh’s latest just seems stale in comparison, with no new life in this “Death.”

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.

Clearly far from the worst the franchise has offered (sorry, “Scream 3”) and not quite to the level of the late Wes Craven's innovative 1996 original, Ghostface’s latest slice-and-dice through Woodsboro checks all the appropriate boxes though lacks some of the quirky fun that marked previous entries.

The new "Matrix" tries to reprogram a beloved piece of cinema. However, it’s quite a few fixes short of a full upgrade.

Even though there are a bunch of interesting personalities (like Ron Perlman’s strongman Bruno), Nightmare Alley lacks the human connections that not only made del Toro’s last effort, best picture winner The Shape of Water, so entrancing but also populate the 1947 adaptation of Gresham’s book.

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.”

While it lacks a strong overall narrative focus, "Ricardos" makes the most of a strong supporting cast and Sorkin’s excellent, banter-filled script.

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.

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.

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.

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.

Smith brings passion and stubbornness to Richard, a controversial figure in some corners and a devoted dad in others. The movie itself is a rousing if familiar sports drama that takes care of the surface-level narrative but doesn’t delve deeply enough into the meatier stuff, at times seeming to have the wrong focal point.

While teenage star Mckenna Grace infuses the aging property with a needed burst of youthful energy, co-writer/director Jason Reitman (son of original filmmaker Ivan Reitman) is more interested in looking backward with the sequel, leaning way too hard on old characters, story beats, plot points and zingers.

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

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.

"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.

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.

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.

Zhao understands the larger assignment, as the epic sets the stage for future MCU intrigue. Her attention to detail and eye for design does wonders, even if by the end it all feels like an eternal chore.

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

In picking up exactly where the last one left off three years ago, Kills separates its two key main characters, and not for the better. It just seems like a filler chapter before another main event, albeit with nasty kills, mythos building and cool references.

Amid seriously high stakes, Craig makes you root for Bond like never before in a swan song that’ll leave die-hards shaken, if not stirred.

The movie version is simply a poor adaptation, trading the vibrancy and refreshing spirit of the original show for all-too-familiar teen-movie angst, with an out of place leading man.

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.

The sci-fi epic Dune boasts a few films’ worth of giant sandworms, amazing spaceships, cosmic armies and galactic political drama, though it essentially is only half a movie.

Hide your mirrors and look out for bees: Candyman has returned, more relevant and terrifying than ever.

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.

Given the chilling mood Bruckner strikes and dark corners he unearths, horror fans will want to spend some time in this Night House even if it’s not worth a long-term investment.

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.

Similar to other recent musical biopic vehicles like Judy and The United States vs. Billie Holiday, Respect never reaches the greatness of its shining star.

Free Guy is a big, warm hug of a movie with plenty to love, even if you’re not super into bubble gum ice cream, swing sets and vintage Mariah Carey like Ryan Reynolds' goodhearted title character.

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.

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?

While those parents who grew up with Indy and Romancing the Stone might have seen a lot of this stuff before, it’s right in the wheelhouse for movie-loving youngsters not quite ready to watch Nazis’ faces melt in "Raiders." For those kiddos, Johnson’s big lug and Blunt’s eager explorer offer an enjoyable welcome to the “Jungle.”

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.

Pretty much everybody is kung fu fighting in “Snake Eyes,” a satisfying martial-arts action-adventure with two magnetic leads, a heap of lightning-quick swordplay and the best argument yet for a G.I. Joe cinematic universe.

The new edition is comparatively an air ball: It’s less a family-friendly film with a hoops legend and more a crassly referential love letter to all things Warner Bros.

Oftentimes, the original book is better than its movie version. And while King’s tweetstorm is an infamous Homeric odyssey in the world of 280 characters, Zola is a solid spin, vividly capturing a stripper saga that would have been harrowing to live through, but is fun to sit back and witness.

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

These movies are best when marrying James Bond high jinks with their longtime emphasis on the strength of family, plus a serving of macho philosophy on the side. F9 tries to goose that template exponentially with soap opera and a greatest-hits package to craft the ultimate "Fast and Furious" movie, instead succeeding at making one that's merely fine.

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

Conjuring films are best when tapping into the Warrens’ work and making it feel all too real to audiences, and in that regard, “The Devil” tries to shake things up but ventures too far from that freaky norm.

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.

With a musical that doesn’t shy away from tackling issues of racism and immigration, viewers will find themselves immersed in a song-filled, universally relatable story about chasing dreams and building community.

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.

An all-star slow-burn mystery for much of its 102-minute runtime until it suddenly decides to become a vomitous reveal-fest doling out all its twists as fast as possible. A storytelling choice, for sure, and one that wastes a talented crew of actors and fails to pay proper homage to the old-school films it references.

[Jolie] does what she can with the throwback role, though it’s the least of the film’s problems, with an unfocused plot, painfully dull villains and far-fetched sequences. That said, for those who dig really cool fire sequences, you’ll definitely feel the burn.

The movie throws in a little murder mystery and an alien-invasion angle with its coming-of-age themes, features a host of up-and-coming stars (including Johnny Depp’s daughter Lily-Rose Depp), and rockets to some interesting places when it comes to science and what makes us us. What undermines all that, however, is when the film shifts into being an intergalactic Lord of the Flies as the kids turn on each other and go tribal.

Nobody fails to break a bunch of new ground transforming another normal guy into a murder machine although Odenkirk's presence does give the film a conflicted and darkly comic center. Let's hope more machine-gun antics are in his future.

The follow-up is a toothless, fleetingly funny revisit with some moments of greatness yet too much of the same old story to feel fresh.

The film wrestles with tonal inconsistencies but features fantastic action scenes to go with a touching underlying narrative about the power of trust.

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.

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.

Even with its imperfections, “Billie Holiday” tells a needed story and along the way introduces a bright new Hollywood star to watch.

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.

“Black Messiah” satisfies both as tense thriller and insightful period piece featuring two of the most captivating actors in Hollywood, Daniel Kaluuya and Lakeith Stanfield.

The movie's exploration of obsession and a sliding scale of what’s right vs. what’s wrong is among the aspects that Little Things does well. And there’s always some positive with Washington in a thriller like this.

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

Soul is a jazzy and profound riff on humanity and the hereafter, an entertaining, exuberant effort about our existence with comedic shenanigans, deep thoughts and wondrous imagination.

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.

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.

The Midnight Sky doesn’t always have the smoothest storytelling, yet in Clooney’s capable directing hands, the film’s emotional core and human touch are never a waste of space.

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.

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.