Johnny Oleksinski

For those who do not have a room in the house devoted to Elvis memorabilia, or care a lick about the guy, “EPiC” is still an energizing experience. To my mind, there’s nothing better than observing the greatest artists of all time do what they do best — unvarnished.

Impressive throughout is the way Eisenberg balances reverence for his locations and belly-grabbing comedy, while using those elements to support each other.

The film seizes Lowery’s best skills as a director: his eye for innocence and nature (Pete’s Dragon) and how he uses slowness to deepen a story (The Old Man and the Gun).

It’s the ensemble that wows most, though. Faist makes an unusually spindly Riff, yet he is scarier than any I’ve seen. Bernardo, the best role in the show, is given real intensity by David Alvarez and Ariana DeBose dances the dickens out of “America” as Anita.

The fights, taken on their own, are occasionally OK, but not enough to lift this joke-and-fun-free slog.

It’s a breathtakingly human film — about a bird and a bot.

Support the Girls is one of the sneakiest bait-and-switches at the movies this year. You come for the cheeky title and stay for the relevant, empathetic story about working-class women.

It’s gripping, visually mesmeric, boasts an exceptional, grounded script by Tony Kushner and is acted to the hilt.

Wladyka keeps the film lively with a sparkler aesthetic and a flair for musical storytelling.

Beyond simply embodying the quirks and look of a historical figure, Kaluuya’s passion makes you believe the masses would actually follow him.

I think what Tarantino is going for is brazenly manipulating historical events to suit his style, and turning a well-worn genre on its head. But in so doing he’s made an everything bagel of a movie: Part satire, part bear hug, part fictional bromance.

In combining the old genre tropes with a potent message — the eternal recipe for a great horror film — the ever-entertaining director again shows he has something forceful to say, be it with boxers, superheroes or blood-suckin’ vampires.

It’s one of the funniest movies of the year.

Does it tug the heartstrings? Absolutely. Is it funny? The funniest of the quartet, in fact thanks to a weird new character. But Pixar, like its former funder Apple, has conditioned audiences to expect more than a nice little movie. We want to be amazed — not subscribe to Apple TV+.

Trust me — it’s been ages since you’ve seen actors have this much fun in a movie.

It’s Buckley who’s giving one of those rare turns that simply beggars belief. She swings back and forth from cast iron to porcelain. The actress is thunderous, playful, grounded and ethereal. She breaks your heart — not only when the worst befalls Agnes, but whenever she cracks a smile.

The Vast of Night goes cold-turkey on most of the elements that have come to define science-fiction in recent years. There are no explosions, car chases, superheroes, hot aliens or lack of self-respect here. Instead, it boldly goes where great sci-fi used to go.

The movie succeeds thanks to director Damien Chazelle’s superb visuals, which land somewhere between the quiet indie look of his previous flick, “La La Land,” and the epic sweep of “Apollo 13.” Space has never looked so sexy, or felt so claustrophobic.

Soul amounts to more than technical wizardry and intelligent dialogue. Why artists keep pounding the pavement despite never finding commercial success is a meaty topic.

Private Life gives us an intrusive and often funny look into a couple’s struggle to conceive. If only director Tamara Jenkins’ dramedy stayed as grounded as its relatable premise.

The tale is so bizarre that it’s sometimes comical, and often disturbing. The unrelentingly intense BlacKkKlansman can be very hard to watch.

Perhaps the sharpest casting is J.K. Simmons as a gruff wedding guest named Roy, who got trapped in the time-loop earlier after a misguided cocaine binge with Nyles. He pops up occasionally to hunt Nyles with a bow and arrow or a shotgun to seek revenge. You will cherish the 65-year-old Oscar winner’s interpretation of being high on coke.

If you want to celebrate the life of legendary actor Brian Dennehy, who died last month at age 81, start with one of his final films: Driveways. His performance as a widowed veteran is right up there with his finest screen work, which makes his passing all the sadder.

Good on J.Lo for protecting the integrity of flighty rom-coms. Every movie need not be so serious and socially conscious.

A jalapeño popper of a movie — fast, filling and punchy — and a likable throwback to the films of M. Night Shyamalan. The good ones, anyway.

The fun in Knives Out is watching an ensemble of super-serious actors getting to misbehave.

Like Emerald Fennell’s shapeshifting mystery, “Challengers” is, at once, artful, addictive and deceptive. The salivating viewer believes it’s one thing, becomes sure it’s another and then leaves with a different theory altogether.

It’s my favorite Cage performance in some time, after overly bizarre turns in recent years as a murderous parent in Mom and Dad and an inmate on a mission in the Japanese film Prisoners of the Ghostland. When he goes back to basics, it’s as rich and juicy as a delicious ham steak.