G. Allen Johnson

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.

Marty Supreme is so fast-moving that its 2½-hour running time passes quickly. Even with a uniformly excellent and eclectic cast and some over-the-top situations, it’s hard to take your eyes off Chalamet.

A must-see documentary about not just a would-be assassin and moment in American history, but a snapshot of the Bay Area during turbulent times.

Cameron is such a good filmmaker that even though he seems to be out of ideas, the three-hour, 17-minute running time chugs along efficiently on pure craftsmanship. But is that enough?

Invoking the seven deadly sins and the Ten Commandments, nearly everyone has something to confess. In that sense, this new “Knives Out” isn’t just a whodunit, but a who-didn’t-do-it — spiritually speaking.

It wears its heart on its sleeve and is a bit too sentimental, but it is sweet and pleasing.

Describing this makes it sound like there’s more plot than there actually is, but “The Carpenter’s Son” isn’t a conventional story. It’s more of a mood piece, with a true run time of just barely 90 minutes. But it’s got Cage, and that’s the difference maker.

It’s hard to make a two-plus-hour chase movie like this compelling, but Wright gives it a go by peppering the cast with brief appearances by characters far more interesting who help Ben along his way.

It’s not a cookie cutter superhero film or predictable horror film. That’s the good news. The bad news is that it’s form without enough content.

It’s a chilling expansion of the franchise, with visually inventive dream sequences and Ethan Hawke returning as the villain.