Michael Ordoña

Ne Zha II surprisingly contains a sincere-feeling theme of individuality, of resisting what society commands a person to be rather than embracing their nature.

Day Shift is a damned delight. One would be tempted to call it the best horror comedy of 2022 so far, but it mixes so many genres it’s more like 2022’s best horror-buddy-cop-cartel-drama-bounty-hunter-martial-arts-action comedy (so far).

It’s a ‘70s paranoia movie in the best sense. And this is no hackneyed tribute; it’s complex, murky, propulsive.

The Wild Robot has a lot to say and its own way of saying it. It’s a big-studio animated feature that has its own look, feel and identity, wrapped around an unusual story with ample humor and plenty of emotion — all of it earned. The movie’s vocal performances, especially from leads Lupita Nyong’o and Pedro Pascal, are excellent. It’s lovely on the outside and on the inside.

In Swan Song, [Ali] lives in both drama and sci-fi worlds as he crafts a man coming to grips simultaneously with his own mortality and the dawn of something new for humanity.

In its mix are ethical quandaries in biotechnology, nature versus nurture and an adorable-sexy-disturbing monster. So there's that. But it wins best in show by focusing on one of the weirder relationship triangles in recent memory.

How It Ends works both as an alternative to the usual, race-against-time or humanity-sucks apocalypse dramas, and as a personal exploration of settling affairs — and it’s a comedy.

It’s a surprise contender for Best Christmas Movie of the last several years.

Cinematically, it draws influence from Terence Malick, but in a good way. It’s atmospheric, but not at the expense of emotion and humor.

Consider the sequel curse broken: Fear Street Part 3: 1666 satisfyingly wraps up Netflix’s R.L. Stine movie trilogy with deepened themes, more fully realized characters and enjoyable twists that lend dimension to the arching story.

While it’s sometimes dizzying in its visuals or its joy, it’s often not cute. It can be fun, even exhilarating. It can also carry the emotional impact of loss.

In the hands of director and co-writer Santiago Mitre, co-writer Mariano Llinás and lead actor Ricardo Darín (“The Secret in Their Eyes”), Strassera is the slow-but-steady one in the story of “The Tortoise and The Junta: The Little Prosecutor Who Maybe Couldn’t, But Wouldn’t Quit.” He’s what one might call “endearingly competent.” The characterization they achieve is something rare and commendable: a lead who is interestingly uninteresting.

Not much happens in the understated British comedy Days of the Bagnold Summer, and that’s rather the point. It’s a truthful and sometimes moving slice of life (and cake) elevated by vivid lead performances.

Sisters on Track is a lovely, immersive look into the lives of three Bedford-Stuyvesant, Brooklyn, girls.

The Kid Detective is an unexpected mix of disparate elements that in the wrong hands could have resulted in lumpy parody but, fortunately, pours out as something smooth, funny, dark and potent.

There are fun characters and dazzling action sequences. The filmmakers’ approach to rethinking legendary figures and placing them in a kind of timeless, weirdly teched-out reality is intriguing.

It’s an insightful, deeply felt film that lets us in on a personal evolution.

Tammy’s Always Dying is a richly observed comedy-drama. Johnson’s direction is intelligent and restrained.

Thanks to the synthesis of adaptation, direction and ensemble — especially its leads — The Valet rewardingly finds its own way.

Copshop is an enjoyable, slow-burn action movie featuring a smart script, sharp direction, strong cast — and the emergence of a possible star.

Hard Luck Love Song is a happy but gritty marriage of material, filmmaker and star. Much is asked of Dorman, and he delivers all.

Chloe’s determination and smarts make Run much more enjoyable to watch than the vast majority of specimens of the genre. She credibly thinks her way through problems. When things are dire, she ratchets up her courage — and Allen sells us on it all.

M.C. Escher: Journey to Infinity succeeds where so many documentaries about artists fail: It provides real insight into the art. It’s a welcome trip for those fascinated by his iconic, mind-bending depictions of illusions, evolutions and eternal cycles.

The distinctive visual style is notably fluid and detailed. The layout artists craft lovely painted environments with rich textures. The action is enjoyable and character-specific. As one would expect from an anime this popular, the imagination is off the charts.

(A)beautifully shot, fascinating film.

The flesh-and-blood protagonists are powerful, driven people caught in a riptide.

Profile works on several levels — as a cinematic feat, dual character study, gripping thriller … and as a cautionary tale.

In any genre, a distinct filmmaking voice and clever avoidance of cliches earns a closer look; perhaps even more so in the realm of sci-fi/horror. And no spoilers, but where Come True lands is extremely satisfying.