Richard Roeper

The movie plays out like a thrift-store version of Adam McKay’s “The Big Short,” in that it takes us through the looking glass into a world so complex and nebulous, even the major players sometimes seem utterly befuddled — but does so as if we’re taking a thrill ride in a Financial Theme Park.

With Branagh also providing stylish direction (he’s also not above indulging in jump-scares), screenwriter Michael Green fleshing out and making some major changes to a relatively lesser work by Agatha Christie (titled “Hallowe’en Party”) and a terrific international cast who embrace the inspired, over-the-top lunacy of the story, this is an instantly involving murder mystery with a semi-crazy ending that really works — if we don’t think too hard about it. After all, this is a whodunit wrapped inside a ghost story.

This is not an easy watch, but there are also moments of deep emotion and genuine inspiration in the documentary.

Fuqua and screenwriter Richard Wenk veer close to “Godfather” territory with an extended sequence that cuts between a somber religious ceremony and extreme carnage, but this is not Important Cinema — it’s well-filmed, well-acted, high-class B-movie pulp, and we get a neat little twist to wrap it all up at the end.

Not every joke lands, but with a brisk running time of 1 hour and 32 minutes, director/co-writer Seligman displays a keen sense of timing and a real awareness of how to make a point with edgy wit and then move on to the next target as we’re still admiring her willingness to go there, and there, and also there.

A disappointing and murky mess of a film that feels like an uncompleted project and leaves the viewer frustrated, despite the gritty visuals and a game lead performance by two-time Academy Award winner Hilary Swank.

Alas, Gran Turismo ultimately feels like a tribute to marketing campaigns and brand ambassadorships more than “Rocky” on the racetrack.

Though specific in its humor and humanity, this is a film that also has a universal quality. Anyone who’s ever had a falling-out with a best friend can relate to the heartache felt by Stacy and Lydia when things go sideways — and will be rooting for these two wonderful young women to find their way back to one another. Theirs is a friendship worth saving.

We’re halfway through the movie when the villain’s identity becomes painfully obvious. Spoiler alert: We’re not wrong. The dialogue is often so painful, it’s almost entertaining on some level.

BS High directors Travon Free and Martin Desmond Roe do a splendid job of alternating between present-day interviews with Johnson as well as a number of former Bishop Sycamore players, who will break your heart as they talk about the realization the dream Johnson was selling to them was almost all illusion.

This is a bold and unique slice of storytelling that serves up some genuine scares and bone-chilling fright moments while pointing a finger at a culture that alternately glorifies, worships and sexualizes young women and revels in stereotyping them and tearing them down.

With Will Ferrell and Jamie Foxx as the lead pups, Strays delivers a handful of solid chuckles and a few laugh-out-loud moments — but it’s a premise that turns out to be awfully thin for a feature-length film.

Writer-director Defa has delivered a small and quietly compelling low-key gem filled with offbeat characters who are perfectly normal — which means they’re kind of odd.

While it’s great to see a Latino hero from the DC Universe get center stage in the form of Jaime Reyes/Blue Beetle, and the dynamic among the loving and fiercely protective extended Reyes family is the highlight of the film, this is a mostly by-the-numbers origin story with underwhelming VFX, a disappointingly cartoonish villain and a final battle sequence and epilogue that follow the pattern of a dozen or more previous superhero origin stories.

Based on the novel of the same name by M.T. Anderson, the third effort from the talented Finley (“Thoroughbreds,” “Bad Education”) features some impressively staged sequences and terrific performances, but awkwardly straddles the fence between biting social commentary and dark humor, never quite finding its footing and ending on a curiously flat note.

Directed with action-movie aplomb by Tom Harper (“The Aeronauts,” “Peaky Blinders”) and featuring great-looking visuals from settings including London; Lisbon, Portugal; South Tyrol, Italy; Morocco, and Reykjavik, Iceland, “Heart of Stone” is clearly intended to jump-start an action franchise for Gadot, and it’s off to a promising start.

Despite its attempts to be racy and of-the-moment and to earn that R rating, Red, White & Blue comes across as contrived and, at its foundation, quite formulaic. Not even the cake gives a convincing performance.

The film leaves no doubt Ted Hall was a brilliant man, and that he and Joan had a beautiful marriage. His legacy beyond that remains a subject of intense debate.

This is a true story, and it’s now getting the feature film treatment in Bill Pohlad’s warm and elegiac and lovely Dreamin’ Wild, with Casey Affleck doing his disheveled-restless-socially awkward thing in a searingly strong performance as the brilliantly talented Donnie, and the versatile Walton Goggins making the most of an opportunity to play a genuinely nice regular guy in Joe, who always knew he was at best the Ringo to Donnie’s John.

The Beanie Bubble is a frequently funny and breezy reminder of the pure insanity of the craze surrounding plush toys with names such as Patti the Platypus and Peanut the Elephant and Iggy Iguana, with an nearly unrecognizable Zach Galifianakis capturing Warner’s childlike curiosity, admirable drive and disturbingly narcissistic and sometimes emotionally bruising persona.

An energetic, sprawling, sometimes aimless but ultimately entertaining old-fashioned blend of comedy and horror that’s overflowing with Easter Eggs and insider winks to the theme ride attraction, and benefits greatly from an ensemble cast that works overtime to make sure we enjoy ourselves.

Like that damn disembodied hand, Talk to Me will keep you in its grips throughout.

Born of a years-long collaboration by Ben Platt, Molly Gordon, Noah Galvin and Nick Lieberman (which included a proof-of-concept short film), with all four writing the screenplay and Gordon and Lieberman co-directing, Theater Camp is an affectionate and winning yet sometimes bittersweet satire created by a talented quartet who clearly know the territory quite well.

Christopher Nolan’s three-hour historical biopic Oppenheimer is a gorgeously photographed, brilliantly acted, masterfully edited and thoroughly engrossing epic that instantly takes its place among the finest films of this decade — an old-fashioned yet cutting-edge work that should resonate with film scholars and popcorn-toting mainstream movie lovers for years and decades to come.

Thanks to the creative efforts of director Gerwig (who co-wrote the screenplay with her partner Noah Baumbach), the absolutely pitch-perfect casting starting with the gorgeous and talented humans Margot Robbie as Barbie and Ryan Gosling as Ken, and a candy-colored, screen-popping production design that transports us to Barbieland and beyond, this is a truly original work — one of the smartest, funniest, sweetest, most insightful and just plain flat-out entertaining movies of the year.

This is a film that has much to say about the systematic oppression of marginalized and exploited classes, and the powers that be who will go to extreme measures to make sure the more things change, the more things stay the same. Also, it’s funny as hell.

The Miracle Club contains few surprises, but that’s kind of the point of these kinds of movies, yes? We’re here for the comfort-viewing and the location scenery and the hand-me-a-tissue moments and the sublime performances.

The cloak-and-dagger stuff with the appropriately named Grace is reminiscent of a mid-20th century Cold War film. Director McQuarrie and his team are experts at staging these types of sequences.