Soren Andersen

In the matter of searching for work in a difficult economy, Get a Job traffics in fairy tales that come complete with happily-ever-after endings.

It’s heart that’s overflowing with love, poignancy, humor, color and music.

See the movie. It’s a treat. And educational, too.

Everything in the picture, from the characters’ clothes and hairstyles to the vessels they sail, bear the stamp of authenticity. But Moana’s greatest strength is the verve in which they move the action along and the sheer joyousness evident in every aspect of their storytelling.

It’s nuts. It’s fun.

The effects work rivals the likes of “Saving Private Ryan” and, well, “Independence Day.” It’s spectacular and realistic-looking. That’s to be expected. What’s not expected is how serious-minded and well-acted the picture is.

There’s no problem keeping up with these Joneses. The audience is way ahead of them every step of the way.

Ridley is the picture’s real find. Her Rey is fearless, forceful, resourceful, and with a hidden side to her personality that slowly manifests itself and will surely be more deeply explored in the sequels.

The eye is enchanted by the richness of the picture’s spectacle.

The mood of the picture is relaxed. The vibe given off by Redford and his principal co-stars Casey Affleck and Sissy Spacek is one of accomplished professionals feeling supremely comfortable inhabiting their roles.

The visuals are gorgeous. The mood is unsettling from start to finish. Annihilation is a strong sophomore effort from a very talented filmmaker.

The silence in Silence is deep and profound.

A knowledge of the novel is helpful as well.

This “Naked Gun” tries hard, but the magic simply isn’t there.

All in all, this “Buster” is something else.

Green Room is one nasty piece of work. And I mean that in a good way.

Using a rich trove of archival footage and interviews with Cernan, members of his family, other former astronauts and key Apollo mission figures, director Mark Craig charts the flight path of Cernan’s life.

With all of Shults’ dark-night-of-the-soul mood manipulations, the film promises more than it delivers. Its buildups are impressive, but in the end its frights are mild.

Directed once again by Chad Stahelski, the one-time stunt man who has become a first-rate visual stylist and master of pacing over the years of directing “Wicks,” “Chapter 4” is dazzling.

In fact it’s really writer-director Schrader who is Isaac’s true co-star in “The Card Counter.” A product of a strict Calvinist upbringing in Michigan, the filmmaker’s trademarks — guilt, redemption, a soul in torment — are all here.

Hunnam speaks in low tones, practically murmuring his lines in many scenes, which seem at odds with the underlying fierceness of Fawcett’s resolve. His manner is almost diffident, yet he’s steadfast in his purposefulness.

Adapting a prizewinning novel by Canadian writer Patrick deWitt, Audiard has made an atmospheric Western in which the four lead actors portray their characters with remarkable subtlety.

Zootopia delights, in ways big and small.

It’s not the best Dracula movie of all time, though it aspires to that. Murnau’s original still leads the pack. But it certainly is the most stylish. Eggers is a filmmaker with astonishing visual flair.

Under Chukwu’s steady, sensitive direction, Deadwyler’s performance is such that it overshadows everyone else in the movie.

It’s essentially a plotless montage, a spellbinding filmic tapestry. Its visuals are out of this world, quite literally in the early going, as it presents the story of the creation of the universe.

It’s a detective story. It’s a spy thriller. It’s a cautionary tale. And it’s true.

It’s fun, but it’s not prime Peele by any means.