Frank Scheck

What makes Obsession so fun, and so disturbing, is how it takes typical aspects of dysfunctional romantic relationships to initially comic and then horrific extremes.

The film never gets too heavy-handed in its themes, thanks to its fast pacing, frequent doses of humor, and myriad plot twists, including one that qualifies as a doozy.

There are times when A Magnificent Life gets too heavily into the weeds, attempting to cover so many biographical bases that it loses narrative momentum. But the stylistic imagination and beautiful, hand-drawn animation on display more than make up for its awkward storytelling, and it ultimately emerges as a loving tribute to an important figure in French culture

Alternately disturbing and brutally funny, and ending with the sort of capper that perfectly encapsulates its provocative ethos, this marks an auspicious directorial debut for Oscar Boyson.

The film is better-looking than it is written, although there are funny take-offs on such things as hip-hop videos and cheesy sports promotional films.

The Wrecking Crew doesn’t set out to reinvent the formula, but rather luxuriate in it.

Ultimately, what distinguishes the film from the many Statham shoot-em-ups that have preceded it is Mason’s increasingly close relationship with the young girl, excellently played by Breathnach, who helps him get back in touch with his human side.

Sam Raimi’s darkly comic horror-thriller starring Rachel McAdams and Dylan O’Brien boasts an audacious concept that is superbly realized by Raimi’s filmmaking, which milks every bizarre situation for all it’s worth.

Like most movie spoofs, this one relies on quantity over quality, meaning that if you don’t find one joke funny you can rest assured there’ll be another one just a few seconds later. The team of five writers pack so many visual and verbal gags into the proceedings that some of them inevitably land, compensating for the profusion of groaners.

Sutherland makes it all work, delivering a thoroughly winning performance that makes you buy into the overall hokum.

This sequel to 2016’s smash hit Oscar-winning animated film proves more than worth the lengthy wait, knocking it out of the park with its dazzling visuals, sophisticated humor and doses of genuine emotion.

Featuring enough slightly rambunctious humor to amuse younger viewers while providing a relatable, moving portrait of adolescent angst, sibling bonding and marital tension, In Your Dreams showcases consistently imaginative computer animated visuals (with one segment reverting to hand-drawn) and the sort of original storyline that’s increasingly rare in animated films.

The Man Who Saves the World? makes for both fun and thoughtful viewing.

As for those over-the-top, extremely gory action sequences, they’re tremendously visceral, the eye-popping animation, propulsive musical score and deafening sound effects (there’s a reason Sony wants you to see the film, released in both Japanese and English-dubbed versions, in IMAX and other premium formats) delivering an enveloping, nearly psychedelic experience.

There are times when Black Phone 2 wears its stylistic influences — including not only the Nightmare on Elm Street films but many other horror movies from the ‘80s — too heavily on its sleeve. But the extensive borrowings are easily forgiven when the set pieces are delivered with the sort of panache that they are here.

The humor is very droll and deadpan but, as the above examples indicate, more chuckle-inducing than hysterically funny. As with so many belated follow-ups, Spinal Tap II: The End Continues mainly coasts on nostalgia and affection for the original.

[Fraser's] superbly nuanced and expressive performance proves key to the film’s power, and he’s well matched by excellent supporting players.

Julian Fellowes’ typical witty script proves a pleasure throughout.

The sequel is certainly a stupendous achievement in terms of its animation, and clearly has great cultural resonance in its native country. But those looking for coherent storytelling or emotional depth will have to wait for the next Pixar offering (not that the company has been distinguishing itself lately).

The filmmakers keep things moving at such a brisk pace (the film clocks in at a mercifully brief 89 minutes) that you go along for the ride, and there are so many terrific action sequences and injections of mordant, deadpan humor that it proves wildly entertaining.

Although its very R-rated humor inevitably starts to wear thin during the course of its feature-length run time, Fixed manages the neat trick of injecting some genuine heart into its nonstop offensiveness.

On one hand, She Rides Shotgun is a New Mexico-set crime drama that makes Breaking Bad look like family entertainment. On the other hand, it’s an ultimately touching portrait of the growing bond between a criminal father and the young daughter he’s barely gotten a chance to know.

It smacks of overkill, but fortunately the film, smartly directed by Pierre Perifel, also features the same wit and charm that proved so appealing to youngsters and adults alike in the first movie.

Also featuring an unfortunately underutilized (but always welcome) Nancy Travis, Sovereign benefits greatly from its empathetic, non-exploitative approach to its controversial subject matter. It’s uncomfortable but necessary viewing.

Predator: Killer of Killers provides the non-stop action that the diehard fans crave.

It’s certainly entertaining enough while you’re watching it, thanks to the expert performances of its four lead actors, but it’s unlikely to make as much of an impact in the cultural zeitgeist.

The musical interludes — which include gorgeous versions of such songs as “Sunday Bloody Sunday,” “Where the Streets Have No Name,” “Vertigo,” “Desire” and “Beautiful Day,” among others — provide a welcome contrast to the film’s inevitable talkiness. Ditto the kinetic cinematography and editing, which give the proceedings an arresting cinematic quality.

Final Destination Bloodlines gives its audiences exactly what they expect. Namely, a series of ingeniously designed, diabolical Rube Goldberg-style fatalities that are mostly so within the realm of possibility that you’ll find yourself crossing the street very carefully after you leave the theater.