Mark Kennedy

There’s plenty of good music in 28 Years Later: The Bone Temple, including Radiohead’s “Everything in Its Right Place” and one of the most gloriously unhinged uses of Iron Maiden’s “The Number of the Beast” ever conceived. If the previous film had a Fellini-esque vibe, this one has punky, anarchic feel.

Based on Freida McFadden’s novel, “The Housemaid” rides waves of manipulation and then turns the tables on what we think we’ve just seen, looking at male-female power structures and how privilege can trap people without it.

Could the movie have hit harder at the self-involved stars we often worship? Of course. But what makes it powerful is not the Hollywood drama. This is a movie for any of us who have missed a child’s school recital, asked an assistant to work late or skipped a family dinner because a client was running behind. It’s about time. It’s about where we choose to spend our time.

Now You See Me: Now You Don’t does what sequels apparently must do these days — load up the characters, return to favorite bits and go global — but nails the trick, a crowd-pleasing return that already has a fourth in the works.

Trachtenberg who previously directed and co-wrote the story of “Prey” in 2022 and the animated “Predator: Killer of Killers” earlier this year, is confident in this world and it shows. He’s created a story about the betrayal of family and the joy of found family — and slicing horrific, nightmare creatures in half with a laser sword. But it’s both parts of Fanning that steal the show.

In many ways, this movie is, then, a mirror of “Nebraska” itself — unexpected, complicated and very American gothic.

Watch it and it will linger in your mind. It’s a movie for Iranians, of course, but it’s valuable for any society hoping to one day mend a divided country.

How do you go back and yet forward at the same time? The filmmakers have rather cleverly done that by incorporating plot points from the first two movies and building out with new characters and blurring the divide between flesh and digital worlds.

All of You is a sort of second stab at this story, which Goldstein and Bridges (“Black Mirror”) first explored in the canceled-too-soon AMC anthology series “Soulmates.” Fittingly for a story about second chances, this time it sticks.

Fitting for a movie with an actual skeleton in a closet, “Adulthood” is about legacy and how we become our parents. It’s also about recognizing that our parents are human and complicated.

"Last Rights” — part of a universe that includes “The Nun” and “Annabelle” franchises — is a decent enough final cinematic prayer for this franchise, combining the personal story of the Warrens and their daughter, Judy, with a new paranormal possession that’s created a freaked-out family.

If “Barbarian” came out of left field three years ago and heralded an exciting new voice in filmmaking, “Weapons” doesn’t disappoint but it doesn’t have the advantage of surprise. It will, at the very least, make you feel a little dread when the clock hits 2:17 a.m.

In many ways, the folks behind Jurassic World Rebirth are trying to do the same thing as their mercenaries: Going back to the source code to recapture the magic of Steven Spielberg’s 1993 blockbuster original. They’ve thrillingly succeeded.

The setting of a boat in the middle of the Coral Sea unlocks a delicious new home for terror.

Most impressive is that DeYoung has not created a collection of connected “SNL” skits. Each part cleverly feeds to another, with echoes throughout the script.

The Jared Hess-directed action-adventure artfully straddles the line between delighting preteen gamers and keeping their parents awake.

A Working Man is exactly what you expect when you unleash Statham on a noble mission.

No Other Land is a piece of resistance but also humanization.

A Complete Unknown is utterly fascinating, capturing a moment in time when songs had weight, when they could move the culture — even if the singer who made them was as puzzling as a rolling stone.

Queer is best when it’s a character study of Lee, who in Craig’s hands is charming, selfish, arrogant, abrasive, foppish and sometimes unable to read a room. It’s a million miles from 007, even if Lee carries a pistol.

Joy is not all joy. There is frustration and loss and tears along the way, but it is a triumphant film about the way humans can make the world better and how a baby’s cry can be a priceless gift.

So beautifully constructed and acted in the first half is “Heretic” that you won’t really notice when it turns into a horror movie.

Here fails to connect all these centuries of human experiences, other than to celebrate the human experience in all its messiness, triumph and sadness.

Over two hours ends up being too long. But [Finn] has found a great satirical target, given life to a third film easily and showcased another rising star to watch. That’s a reason to, well, smile about.

It is deep and surreal and often adorable. Is it high concept or low? Like Williams, it’s a bit of both.

Is this the best animated movie of the year? Totally, so far. It might even be the best movie of the year.

Director-writer Megan Park has crafted a wistful coming-of-age tale using this comedic device for “My Old Ass” and the results are uneven even though she nails the landing.

It’s a triumph of small-budget, naturalistic filmmaking, where cars on a gravel road kick up choking clouds of dust and arm bones crack when pressure is applied.