Richard Roeper

Firth and Macfadyen (hey, they’ve both played Mr. Darcy!) are terrific together as two men who really don’t like each other, don’t trust each other and have different ways of trying to connect with Jean.

With the deadpan-great Benedict Cumberbatch effortlessly sliding back into the role of the brilliant and immensely powerful but sometimes shortsighted and narcissistic Doctor Stephen Strange and a bizarro plot that serves up philosophical, ethical and spiritual mind games in between the sometimes repetitive but slick and exhilarating action sequences, this is one of the weirder Marvel movies yet.

Neeson never phones in his performances, but he’s particularly invested this time around, playing a guy who can be a pure killing machine one moment, and as lost as a child the next. Pearce and Bellucci headline the terrific supporting cast, and the 78-year-old Campbell proves he can still direct the hell out of a slick and engrossing thriller.

We believe every frame of this performance, whether Harry is an emaciated figure in the ring in the concentration camp, a formidable opponent as a pro fighter in America or an older man who seems to have found some measure of peace in his life, though the horrific memories will never die.

This is a great-looking film with terrific performances, some lovely messaging and a steady parade of solid laughs—some the kids will enjoy and just as many targeted squarely at the grown-up kids in the audience.

The Northman is often insanely over the top and there are moments when it feels as if Eggers could maybe ease his foot off the pyrotechnic pedals, but still, this is one of the most strikingly original and brutally effective movies of the year so far.

It’s worth the journey due to the sheer star power of Cage’s performance, his willingness to commit to this Funhouse Mirror silliness, and a half-dozen moments that are comedic gold and yet somehow absurdly touching.

The third of the five planned prequels is a relatively lightweight but still consistently entertaining and magical journey that rights the ship after the utter convoluted disaster titled “Fantastic Beasts: The Crimes of Grindelwald” (2018) and feels more connected to the larger HPU (Harry Potter Universe).

Father Stu breaks no new ground in the biopic game, but it’s a solid and worthy tribute to the real-life Father Stu, who continued to do the Lord’s work until his death in 2014 at the age of 50.

The dialogue in As They Made Us rings authentic and the performances are universally strong, but there’s a dour air to the proceedings, and we wind up thinking Abigail would have been better off if she, too, had left home the moment it was possible and had never looked back.

Based on the novel of the same name by Olen Steinhauer and directed with style and skill by the Danish filmmaker Janus Metz, All the Old Knives feels like a small-scale version of a John Le Carré adaptation, with the obligatory Spy Movie Score as perfect accompaniment to the tension-building sequences in the restaurant and the cloak-and-dagger stuff in Vienna.

Jake Gyllenhaal is an A-lister for a reason, but he gives a one-note, screaming performance here and is less than convincing as an unhinged psychopath who seems to have a death wish.

The Bubble is ultimately a mediocre movie about the making of an even worse movie.

The great Jared Harris does what he can with an underwritten role.

At times almost too unbearably intense to watch but ultimately rewarding and with an uplifting twist, “Infinite Storm” is based on the amazing, true-life story of one Pam Bales, who in 2010 set out on an excursion to the top of Mount Washington, the highest peak in the Northeastern United States, which is famous for its unpredictable weather and exhilarating but dangerous paths.

The Lost City breezes along in predictable fashion, touching all the familiar bases of this genre, as the scowling Abigail and his helpless henchmen pursue Loretta and Alan, and oh, there’s a volcano that’s about to erupt. If only Loretta and Alan could have unearthed a more interesting story, we might have had something.

From the opening graphic with its classic 1950s noir static shot, the sometimes appropriately overwrought music from Danny Bensi and Saunder Jurriaans and impeccable production design, “Windfall” quickly settles in as a sometimes tense, often comically absurd and always engrossing game of verbal chess, as the Intruder realizes he has been captured by a security camera and ups his game, demanding hundreds of thousands of dollars from the Husband so he can disappear and start a new life.

It’s a new twist on the period-piece slasher movie, smart and strange and fantastically depraved. I kinda loved it.

The disappointingly flat and decidedly un-erotic non-thriller Deep Water is the kind of movie that has you thinking about other movies as you tap your toes impatiently, waiting for this great-looking but dumb and bloody mess to swirl around the drain and disappear.

With echoes of “Back to the Future,” “The Terminator” and even a little of “Heaven Can Wait,” this is a consistently entertaining comedy-actioner with a lot of heart — and the perfect ending. Fine work, Adam(s).

There’s no denying the talents of director Domee Shi (Oscar winner for the 2018 animated short “Bao”) and the infectious, energetic performances of the voice cast, particularly Rosalie Chiang as Meilin. The problems are mostly with the script, which often requires Meilin to be almost irritatingly obnoxious.

This is a movie that raises questions that get to the heart of the matter in more ways than one, challenges our perceptions of what it means to be human — and has a wonderfully strange vibe while doing so. It’s unsettling, in the best possible way.

This is an urban-based Batman saga, and though the citizens of Gotham City have yet to fully appreciate it, they are lucky to have him patrolling their streets, their sewers and their skyline.

Desperate Hour is well-intentioned, and there are flashes of genuine dramatic tension, thanks to Watts’ performance. Mostly, though, it feels contrived and heavy-handed, with nothing really new to say about this well-traveled subject matter.

This is a stupid, silly, freewheeling mix of music, comedy and blood that kills.

For all its predictability and averageness, Texas Chainsaw Massacre does have two fantastically executed shock scenes.

For all its academic precision and fact-based reportage, “Downfall: The Case Against Boeing” is at its most effective when we hear from the parents, the grown children, the widows, who had to receive the worst news anyone could ever imagine. This is when “Downfall” reminds us of the real costs of those two terrible tragedies.

Choppy at times and indulging in familiar dog-movie scenarios on a steady basis, “Dog” isn’t going to enter any annual conversations about the best canine films of all time, but Lulu is basically a good girl and Briggs is basically a good guy, and we’re glad they were given the high-concept road trip adventure they deserve.