G. Allen Johnson

It’s a cracking good thriller.

México 86 may be a little too inside baseball — er, fútbol — for some, but its light breezy comedy goes down well.

Utilizing Magnason’s voluminous supply of home movies and supplementing it with cinematographer Pablo Alvarez-Mesa’s spectacular footage of Icelandic landscapes, Dosa portrays the passing of a way of life that hints at an uncertain planetary future.

Hoffman, last seen in Francis Ford Coppola’s “Megalopolis,” is a delight, and Jean Reno provides added charisma in a small role in the film’s second half. But the film belongs to Woodall, who turns brooding silence into riveting cinema. His is a star-making performance, perfectly in tune.

The Mandalorian’s memorable catchphrase is: “This is the way.” His first theatrical feature gets about halfway there.

It’s hard to imagine a more original movie, or a more unfiltered vision from the mind of its maker.

Visually mesmerizing, lyrical and with a unique cadence, “Is God Is” is a one-of-a-kind experience. It’s angry and yet imbued with wry, fatalistic humor.

Blows an opportunity to be as great as its subject.

One might quibble that Jackman and Thompson aren’t in the film enough, but really, humans are a distraction. The movie rides on its woolly sleuths, so audiences won’t feel fleeced.

Taccone can’t find the right mix of comedy and horror in “Over Your Dead Body,” which is a faithful — perhaps too faithful — remake of a 2021 Norwegian film, “The Trip.”

Like the King of Pop himself, “Michael” is unashamedly a crowd-pleaser.

Lorne makes it clear that nearly everyone in the entertainment industry who is known for creating laughs owes a debt of gratitude to the master.

Like “Nobody” and “Nobody 2”, “Normal” is a satisfyingly amusing, get-in and get-out (all three films are about 90 minutes) piece of violent mayhem.

It’s Zendaya’s movie. Her layered performance holds back then lets go as Emma’s full complexity is gradually revealed. If you can’t get onboard with Emma, then you’re the problem — which partly is Borgli’s intention.

The film details how constant propaganda, lies and outright gaslighting can effectively numb and coerce a populace.

While “André Is an Idiot” serves as a great reminder to schedule some basic health screenings, it also explores how best to find the quality of a life when its quantity is clearly defined.

It’s a masterpiece of a family popcorn movie, with eye-popping hand-crafted production design and outstanding creature design and puppetry work. This is the kind of movie that could have been made in the era of moon landings and space shuttles, when the general public found science trustworthy and wondrous.

When you walk out of the theater feeling more empathy for the tortured monster than his Bride, the experiment has failed.

While Pixar doesn’t exactly alter the chemistry here, Hoppers is energetic and fun.

In the Blink of an Eye proves yet again that Stanton is a dreamer, with an unshakeable faith in humanity. That’s not nothing.

Sirât is a film of impression and feeling, not logic or plot.

Polly Findlay’s adaptation of Bernard MacLaverty’s 2017 novel is a serious attempt to delve into a complex marriage, and fortunately for such heavy material it contains two winning performances from Manville (so delightful in “Mrs. Harris Goes to Paris”) and Hinds (“Is This Thing On?”).

There are some heart-tugging scenes, but overall, this is the cinematic equivalent of a blissful weekend at the spa, a relaxing respite from the stressful news cycles of our times.

Crime 101 is often smart, ultimately ridiculous — man, that ending! — and mostly absorbing. But as with Davis’ sleek rides, your mileage may vary.

Yes, Charli is playing a version of herself, but she does it well.

It’s a train wreck, but certainly a watchable one that almost plays like fan fiction.

So Orwell it’s not. But “Mercy” is a cinematic feat of a different kind, even if it begins to fade soon after leaving the theater.

Although more Fiennes is always a good thing, 28 Years Later: The Bone Temple simply doesn’t have the solid storytelling or enthralling characters that its predecessor has.