Johnny Oleksinski

Nothing salacious, and no dropped bombs here. Stan & Ollie portrays the pair less as hot-headed collaborators than a bickering married couple.

The song that rolls at the end credits is Bob Dylan’s “Not Dark Yet.” It’s a perfect coda for Linklater’s movie — it mimics the steady pulse of “Flag”, its warmth and Doc’s cautious optimism in the face of personal tragedy.

What a refreshing break from what usually constitutes an epic nowadays — mixing Ant-Man and the Hulk.

Taps into our worst fears of what could happen during a quiet holiday with heart-thumping realism.

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.

For the most part, though, Luca is light and effervescent as a summertime Bellini, which is something parents can drink while the kids watch this.

A sweet, science-fiction family film with a loud environmentalist message (speaking of “Avatar”) that’s good fun. It’s also nicely self-contained.

Don’t be fooled by its awful title. The Spy Who Dumped Me is the rare secret-agent spoof that doesn’t double-O-suck.

The Drama, for all its heat, is not perfect. I wasn’t won over by its climactic series of calamities that fall in rapid succession like dominoes at the end. However, most movies are completely forgotten by the time the credits roll. This one, like it or not, lingers for days. It’ll likely wind up one of the most controversial movies of the year.

It’s a pleasant watch with some solid jokes.

Hamilton the film is just OK.

Forty-three years later, “Tron: Ares” is groundbreaking for being the first “Tron” film with a discernible plot.

A very fine follow-up to the most successful horror film ever.

It’s an impressive first effort from Kravitz that, like the island and the women, immediately has us in its grip.

A riotous dark comedy in which a cute suburban get-together becomes a lethal nightmare.

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

Being obvious nostalgia bait for children of the ’90s, director Rob Letterman’s film has no right to be as good or well-crafted as it is. The plot takes major twists that come as legitimate surprises, and seeing those old cartoon characters plopped into our world rendered in CGI is enormously satisfying.

If McKay crafted the most enjoyable parts of his satire with a scalpel, somebody should’ve handed him a machete to chop the script down some. The film clocks in at nearly two hours and 10 minutes, and we grow exhausted by it as the surprises stop and the ending becomes inevitable.

Though the cast is a decade older, Zombieland: Double Tap is no less funny. Thanks to some new additions, it’s even more riotous.

There’s a lot going on here, but Washington’s complex, emotionally turbulent performance makes it all work.

Panahi, who defied a filmmaking ban from the Iranian government to make this, is a director always worth supporting.

Ritchie is tops when it comes to getting a group of guys (and, occasionally, gal) together to complete a bloody, belligerent task. And this is as taut an ensemble of his as ever.

Wood, like fellow mega-franchise star Daniel Radcliffe, has found a comfy home in indie films. And he has the perfect presence for this one, in particular.

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.

It is a phenomenal showcase for Ronan, who dares to be unlikable for the rare time in her career. Her natural charm and whimsy we’re used to from “Lady Bird” and “Little Women” is but a glimmer in Rona’s eye — and that little light is why the viewer roots for this troubled woman as hard as they do.

The entertaining movie from director Rose Glass, whose first feature was “Saint Maud,” is unsparing in its graphic depictions of violence, abuse and extreme aspects of the body. Many will find all of that stuff gratuitous, but it fleshes out this unsavory world and ratchets up the plot’s tension.

“Old Man” isn’t hilarious or sleek. It’s mellow, like a campfire tale, or your grandpa’s stories set to whiskey. Redford’s voice never becomes louder than your average therapist’s.