G. Allen Johnson

Feels like a regifting of previous action adventure favorites, lifting elements from the “Mission: Impossible” series, “Skyfall” and, most of all, “The Incredibles.” It’s fast-moving, entertaining, kinda clever and instantly forgettable.

I found “Cats” pretty bland, but it has its moments of catnip, and as a holiday movie option that anyone could see, it might be just the ticket.

Bannon is an intriguing figure, a former liberal who went to Harvard Business School and did a hitch in the Navy. His turn in philosophy is worth exploring. He can undeniably hold attention — American Dharma is not a hard watch.

The brilliance of Dark Waters is that it is able to lay out the case against DuPont without getting too wonky.

Waves is a movie that tears itself apart halfway through with an unspeakable act of violence, then miraculously heals itself. Whatever your reaction to this ambitious, boldly original and hard-hitting family drama, you could never accuse writer-director Trey Edward Shults of holding anything back. He leaves it all on the floor, as they say in basketball.

The fact is that too much time is spent with the British characters in the film, time that could have been spent really getting into Rani’s story. She was fighting for the independence of India, but the filmmakers lost their own colonial battle.

Ultimately, Marriage Story celebrates life and the journeys all of us are on. Noah Baumbach is the writer-director, and to watch such an incisive, deep-feeling script be given life by actors — Adam Driver, Scarlett Johansson and those around them — at the top of their game is to rediscover movies as a powerful medium of personal expression.

Eventually, the imperfect Honey Boy — it could have used more from the older Otis; Hedges is almost wasted — achieves a raw, hard-won honesty.

A soul-killing sequel that gets its kicks torturing and murdering children and offers little hope or redemption. King has long wanted to commit “Redrum” on the reputation of Kubrick’s film, which he openly despises. Nearly 40 years later, this adaptation of King’s 2013 book “Doctor Sleep” doesn’t so much tarnish Kubrick as embarrass itself.

It’s like a Syrian “MASH,” except real.

It becomes somewhat pleasantly watchable because the muddled script and dangling story lines are delivered and explored by truly charismatic actors who can, at least for a while, breathe life into something where none should exist...Even if they’re moping in a corner.

Sure, Black and Blue is a minor film, but it’s irresistible.

Parasite, Bong Joon-ho’s latest masterpiece and the best film I’ve seen so far this year, is about two families of four at opposite ends of the economic spectrum, and how the one on the lower end systematically takes over the lives of the other.

Yes, there are funny lines, but nearly all of them are familiar to fans; it’s almost like a greatest hits of “Addams Family” quotables.

Midnight Traveler gets the bulk of its humanity from little Zahra and Nargis. The resilience of children is often amazing, and near the end of the film, when they play in the snow for the first time, you get a glimpse of hope for their futures.

Sarsgaard and Jones are good actors, and both are fine. The real star, though, is sound designer Ian Gaffney-Rosenfeld and his team, who bring a depth and dimension to the story that sorely needs it.

It’s a probing, searching movie by one of the medium’s best American directors whose reach, like his protagonist’s, exceeds his grasp.

The movie is nonetheless strongly written, with a game cast. Wu is especially a revelation, with a layered and often moving performance that shows off dramatic chops not seen by many of her fans.

Call it Buñuel meets Blumhouse, a film that is flawed but so full of ideas that it doesn’t matter.

What makes it brilliant is that it demonstrates how universal this distinctly Jewish musical has become, how it has been embraced by many cultures and how it is still influential today.

Calaizzo’s script is sharp, funny and honest, and nicely avoids movie cliches about obesity. Bell’s performance is very good, both physically — the actress herself lost 40 pounds for the role — and emotionally.

How much of it is true? Well, all of it. It happened, at least in the inner life of an imaginative boy, whose boundless curiosity served as the launching pad for a unique and productive life.

Late in the extraordinary new Netflix documentary American Factory, Cao DeWang, the Chinese CEO of the Fuyao Group, wonders aloud, “I don’t know if I’m a contributor or a sinner.”

So just showing a glacier breaking off, or a hurricane in full force, doesn’t prove there is climate change. Perhaps if Kossakovsky had provided some context — something to indicate this is happening more frequently, for example — Aquarela might have had more impact. Then it would have been more than just a series of pretty pictures.

Especially terrific is Rieger, who is a 25-year-old rising star in Israel. She displays a fierce intensity and an appealing vulnerability, and here’s betting that if she chose to, she could follow Gal Gadot’s path from Israel to Hollywood stardom.

The problem with Ready or Not is that directors Matt Bettinelli-Olpin and Tyler Gillett (“V/H/S”) don’t know what kind of movie they want to make, or what to do with their heroine. There are constant shifts in tone — is it a comedy, like the trapped-in-a-mansion “Murder By Death”? A satire on the rich? A kick-ass revenge picture?

Price has given us Yelchin’s most complete performance: himself. It is a cinematic gift to contemporary film fans everywhere.

The film finally gets into gear around the midpoint and zooms to a satisfying finish.