Johnny Oleksinski

Love and Thunder is an urgent reminder that in order for the MCU to keep going, in an entertaining, soulful way, creativity and innovation is required. You can’t just say “multiverse” 1,000 times and call it a movie.

While a tad too light, as these films often are, nobody is making animated characters as funny or likable (or marketable) as the Minions.

A movie that runs on jet fuel and confetti, Elvis is a tribute to Presley’s innovative spirit, deep passion for fusing blues, country and gospel music and the intense connection he had with his audience

Dismiss “Cha Cha” as yet another heartwarming comedy at your peril because every single person in it has layers upon layers of complexity.

The movie is one of the better pieces of family entertainment released so far this year.

Nobody is good in this thing. You’d think it would be nostalgic to see Dern, Neill and Jeff Goldblum together again, but they all act like old fogies, and they’re written to sound like morons.

At Crimes, you gag a lot more than you giggle.

Booster’s film, directed by Andrew Ahn, tries to do too many things at once. One side is the clever Austen adaptation, while the other is a sendup of the rom-com genre to the point of parody.

What was once a sophisticated, edgy, witty, sexy drama series has become “The Love Boat” Season 10. Though these wax figures’ love is even less exciting and neeeeew than that old show.

Now that’s how you do a 1980s film sequel.

Many diehards, in their slavish, zombie-like subservience to the MCU gods, will tell you that Sam Raimi (brilliant on the 2002 “Spider-Man”) has directed a horror movie. Lies! It’s as scary and visually arresting as “Van Helsing,” “Underworld” and “Hellboy 2.”

It might sound like a gimmick, but it’s as good as any action-comedy you’re likely to see. Cage heightens his already big personality just the right amount to ensure that the film rises above a skit. We care a great deal about fictional Nicolas Cage.

“Secrets,” somehow the third of a planned five, really puts the “dumb” in Dumbledore.

The first “Sonic” worked unexpectedly well because it thrust the wisecracking alien into a small town filled with humans — a hog out of water — and gave Carrey the opportunity to once again do the physical comedy he’s best known for. Now the novelty has worn off, the charms of the original have evaporated and there’s nowhere for the series to go.

The cacophonous ending sets up a sequel, but I hope it never sees the light of day. Actually, considering it’s about vampires, maybe I do!

Directors Aaron and Adam Nee’s movie sits frustratingly for two hours on the tarmac of comedy as we the angry passengers await takeoff.

Leonard takes advantage of one of Rylance’s greatest strengths — the ability to instantly switch from weak to strong. Behind every tiny smile is ferocity.

Although it is a soft PG-13, The Adam Project is stylistically geared toward 5-year-olds who aren’t going to watch a movie about time travel and frayed parent-child relationships. Today’s teens and 20-somethings are too smart for a movie so dumb.

Some heightened plot lines in writer-director Jared Frieder’s film don’t land as well as the tender moments do. The romance is admirably never overplayed for sentiment.

The new movie, directed by Joe Wright and written by Dinklage’s wife Erica Schmidt, ranks with the most lifeless adaptations. Even the swishy dances are a downer.

The Batman is the first caped crusader adventure in a while to come off as completely purposeless. Christopher Nolan’s movies reframed the comics as realistic, psychologically complex tales of an urban blight, and Affleck’s Bruce was built to fit into a wider DC universe. The Batman is here just to ensure that Marvel has box office competition.

[Tatum] lets his cuddly co-star shine and wrings out a few touching moments of his own, too.

Uncharted, you say? That’s a funny title for an action-adventure movie that doesn’t stray one inch from the well-trodden path of what came before it.

While Bigbug is characteristically eccentric, it also has the most mainstream appeal of any Jeunet film since “Amélie.”

Branagh’s warped vision of these films as putrid, depressing slogs makes Death on the Nile interminable.

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

On paper, “Moonfall” has all the hallmarks of an Emmerich blockbuster — natural disasters, parents separated from children, the total annihilation of Manhattan — but with a twist so baffling, you pinch your arm to make sure you are really awake. No need to reach for your dream journal — it’s all painfully real.

Should a serial killer blood-bath be so comfy and nostalgic for an audience? Not if it wants to maintain our interest. Over two hours, Cinco de Scream-o lumbers along with routine kills and few surprises even when it makes lame attempts at shocking us.