Do all of the aspects of the story hold up? It’s to the credit of the film and Kravitz that those questions never occur to you while you’re watching “Blink Twice.” You’re too engaged to notice.

Don’t forget to bring a box of tissues with you when heading to see “Sing Sing.” That isn’t because it’s a sad story necessarily, but one that moves you and makes you empathize with the main characters. It is real and raw.

Cuckoo is one of the best-looking horror films I’ve seen this year...But even with the highly stylized atmosphere, “Cuckoo” doesn’t quite land the plane. It’s not really clear what the villainous plan is or how the villains are executing it.

While Baldoni had a surplus of material and talent to work with, "It Ends with Us" felt flat and uninspiring.

Do I wish I saw more of Fassbender on my screen? Of course. Does it almost not even matter because the main three actors/musicians carry the movie so well? Also yes.

It’s a dark comedy about class warfare, government overreach and infectious disease. It’s a lot more fun than that sounds.

Superfans of the entire Marvel universe will find this film filled with top-notch comedy and action, Easter eggs, cameos that left the audience gasping and cheering, a lot of meta jokes and digs at 20th Century Fox...It's the perfect way to wrap up the "Deadpool" franchise for good.

Movies about movies don’t always work. Even in this case, the films Scorsese discusses are superior to the one we’re watching. (Most of them, anyway.) But “Made in England” is so good in its own right, as a gateway to so many remarkable films, that it’s a great starting point for the uninitiated and a great reminder for everyone else.

To say Bennett carries this film on her back is an understatement. She takes on the challenge of depicting romance, passion, grief, strength and perseverance.

Author Olaf Olafsson helped write the screenplay and you can feel his intentions throughout. There is a literary beauty woven throughout the film. He asks you to examine what it means to reach out and touch someone — or have someone touch you. Both the physical and the metaphysical are orchestrated wonderfully.

Fly Me to the Moon shines when it doesn’t try to just tell a story about the moon landing, but instead examines how those stories get constructed, and why.

MaXXXine isn't a bad movie by any means, but compared to "X," it just feels like another failed horror movie sequel.

Ultimately, the movie is really boring. Any charm or spark it might have had is quashed by a lack of strong direction and writing.

There’s something about a lot of the film as a whole that makes it feel as if Lanthimos is trying a little too hard.

It’s a heartfelt film, and Squib, finally leading a film at 94, makes it that much better.

The whole isn't quite as interesting as the sum of its parts, is another way to put it. The parts, though, are quite good on their own.

“Brats” is definitely McCarthy’s journey. What saves it are the people he brings along for the ride.

A sequel, by definition, can’t be as innovative as the original. And there is no sure-fire crying scene here like — spoiler alert — the fate of Bing Bong in the first film. (I rewatched it again to make sure it still has the desired effect. It, ahem, does.)

In the end, “Tuesday” is all about learning how to say goodbye. It’s masterfully done. This movie will remain in my top three films of the year.

You know what you’re getting when you walk into this film. And it delivers exactly that. Lots of gunfights, ridiculous stunts (with some killer drone camera work), and just enough emotional pull to give this movie some substance — although not much.

The payoffs are worth it — if you’ve got the stomach for them.

How much you enjoy all this will depend on how much you like Glazer. She’s funny, no question, and sometimes intentionally grating. But she also gives off a genuineness. Maybe she is just saying out loud what other people are thinking.

This truly is what a summer movie looks like — and yes, feels like.

Powell and Arjona have electric chemistry. It’s a joy to watch their back-and-forth — not quite the banter of classic screwball comedies, but close.

It glosses over any number of defining Winehouse moments. In the end, though, you do get a sense of who she was and why she was the way she was, and how that drove her to create such deeply soulful music.

IF integrates stunning animation, comedy and emotion for a beautiful result, a perfect choice for your next family movie night — or if you just want to relive what being a kid was like.

Schoenbrun’s direction is masterful, both in terms of what they get out of the actors (Smith and Lundy-Paine give committed performances) and in their visual language. The look of the film is both haunting and inviting — not unlike that of a nightmare, or a horror film. “I Saw the TV Glow” has elements of both, and more.

If you stick with it, Evil Does Not Exist offers rich rewards, as well as lessons, no matter how inscrutable at times.

More brains and less brawn probably isn’t a prescription for box-office success for a movie like this. But it’s a movie I’d rather see.

The Last Stop in Yuma County is a promising debut, and a welcome chance to watch some actors you’ve seen in other things get a chance to branch out a little. It’s dark fun, assuming you find watching escalating tension a good time. And why wouldn’t you?

It is incredibly stupid. Gleefully stupid. Relentlessly stupid. It’s also really funny. Is it any good? That does not seem to be a major consideration.

The Fall Guy isn’t exactly Oscar bait. Which is fine. Instead, it’s the rare movie that succeeds on its own terms, doing exactly what it sets out to do, which is entertain its audience.

It’s nobody’s masterpiece, but it is an exceptionally promising start for Mohr, making his feature debut as a director.

It is scatological in the extreme and filled with absurdist and slapstick humor, particularly in the early going.

The Ministry of Ungentlemanly Warfare is everything you want in a movie: the fight scenes are bloody and exciting, the dialogue is tongue-in-cheek, every joke landed, and not one actor felt out of place.

Combining his eye for expressive filmmaking, a mature performance from the three main stars and a droning pop score from Trent Reznor and Atticus Ross, Challengers is a seductive feast for the senses.

Not at the top of the list, necessarily, but writer and director Kiah Roache-Turner’s film is a solid if unspectacular entry into the eww-gross-spiders category. It’s pretty good on that front. But when it tries to wedge in some version of Meaningful Family Drama, it loses its way a little bit.

Between the galloping pace of the action and the percussive soundtrack and sound editing, you remain tense the entire time. Garland just won’t let you relax.

It’s not trying to make a grand statement about the world, at least not any more than movies like this do... But it is trying to scare you, and it does.

Though that might not sound like the makings of a comedy, it is. And a really funny one, too.

If the purpose of Girls State is to give high-school students a taste of how government works in real life, “Girls State” makes a case that it does its job only too well.

Director Adam Wingard knows how to make a movie, as seen with 2014's "The Guest," and the visuals are well done in this film, the CGI looks nice, the shots and angles are good. What's lost here is the plot.

What Sauvaire shows in these films is the intense human emotions that infuse these dramatic action movies.

No one is going to mistake “Road House” for a masterpiece, but it succeeds far better at being what the original film set out to be.

Immaculate goes all in on the yuck, but leaves the rest high and dry.

If you’ve ever been lucky enough to find a creative partner who sees the world the way you do, the connection between Elizabeth and Alejandro will hit you joyfully and achingly.

The whole thing runs through Stewart, and she’s great — just one of those movie stars you can’t take your eyes off.

Javier Mariscal and Fernando Trueba’s film is a lot of things, almost all of them good. It’s a vibrant, colorful, animated movie. It’s a serious documentary about political oppression and violence. It’s a loving exploration of Brazilian bossa nova. The soundtrack is incredible.

Granted, a trip to Jupiter is a long way to go to find yourself, and if this were the Sandler we see in movies like “Grown Ups,” it would be interminable. But with this version of Sandler, it’s a worthwhile trip.

While Drive-Away Dolls is a literal journey, it doesn’t have the sense of reaching its destination in the same way…It’s not a road to nowhere — it’s better than that. But it’s also not the joy ride it could have been.

It shouldn’t work, honestly. There’s too much going on in too many directions at the same time. But Villeneuve brings it all together somehow. We’re more than five hours in between the two films (this one is 2 hours and 46 minutes), and while the lack of a sequel wouldn’t be as infuriating as it was last time around, I can’t believe I’m saying this, but I think I’m ready for more.

Red Right Hand wants to be a kudzu-covered, Southern-fried crime story, a morality tale set in the “hills” as rich as pig knuckles from a jar in a juke joint. Mostly it’s just a dopey mob movie with Southern accents of varying quality — predictable and cliched.

The Taste of Things is marinated in warm sunlight, bottles of red wine, sweat from a hard day's work and a touching comfort between lovers. It reminds you of the indulgences of rich meals and genuine connections, going beyond finding someone who remembers date night to someone who knows how to list the ingredients of a bordelaise by taste.

Even at less than an hour and a half, the film is, shall we say, patient in unfolding its story. Part of this is set up, lulling the audience for the shocks to come.

We’re left with some fun, funny and occasionally scary set pieces, but the slices don’t add up to a whole pizza, as it were.

When Argylle is fun, it is really fun. Watching Rockwell and Howard run around the world is entertaining, for a time, but not forever. “Because these things will change,” as Swift sings in “Change.”... Maybe she should have written the movie.

Overall, "The Teachers' Lounge" is a can't-miss mystery that proves not everything that happens in the teachers' lounge, stays in the teachers' lounge.

The Zone of Interest, then, serves as a horror story about the past, and a cautionary tale for the present.

I noticed about halfway through it that between laughs I’d been smiling the whole time. “Mean Girls” may not be totally fetch, but it’s still a good time at the movies.

All of Us Strangers, defies easy categorization in the usual fashion. But it’s also easy to place it in one category: that of really, really good movies.

It’s a messy story, but with Mann’s structural rigor imposed upon it. That is a powerful combination, and one that makes “Ferrari” a bizarrely compelling entry in the Mann canon.

The genius in Wright’s performance and Jefferson’s direction lies in how they don’t succumb to the temptation to overplay anything. Wright gets Monk’s rage just right — it’s internal, though at some point a pressure cooker has to blow.

While Blyth's portrayal of a well-despised character can't go unnoticed and Zegler brings brightness to a bleak world, the issue is there isn't enough time to develop their relationship and make sense of Snow's turn from normal to bloodthirsty.

The Color Purple is a spectacle with big ensemble numbers, powerful solos and duets that will pull on your heartstrings. At a whopping two hours and 20 minutes, it never drags. The music propels the story instead of interrupting. Meanwhile, the performances will have you gasping and cheering.

With a story this sensitive, the main actors and Durkin must walk a thin line between showing the events and not exploiting the tragedies of a family. And through excellent performances, The Iron Claw succeeds, feeling genuine and heartbreaking.

It's a chocolate whimsy-filled film that gives Chalamet a chance to show off and that makes it worth sitting through at least once, maybe even twice.

It’s delightful to see filmmakers and actors take such big swings. It’s even more delightful when they connect, and in Poor Things, they do.

The second the film starts it's evident you're watching a Studio Ghibli film. The animation is unmistakable and is so detailed and fluid you almost forget you're watching an animation.

There is so much beauty in Monster, and so much sadness.

Eileen is indeed a weird little movie, but it leaves a big impact.

Murray occasionally shows flashes of his comic genius, but only flashes.

It’s exciting filmmaking, and Cooper rarely lets up.

To watch Cage ride this rollercoaster of popular culture is a pure delight. It’s also agonizing and will make you squirm.

I’m not sure there’s a lot more going on here than a) the ultrarich are clueless dolts and b) everyone else will do just about anything to become part of the clueless ultrarich. And it’s all so over the top, that’s all it really needs.

It’s not going to make you forget “Snow White and the Seven Dwarfs” or “Bambi” or “Frozen” or “Tangled,” but elements of it might remind you of them. Which is by design.

It's not a usual story: a down on its luck team that has its own way of doing things turns a jaded coach into a human with a heart. We've all seen that before. But, Waititi's singular style makes it a joy to watch and a film worth cheering for.

Napoleon isn’t a failure on anyone’s part. But it’s not a rousing success, either. It’s not really a rousing anything, which is the problem. Maybe Scott should have gone in even more on Phoenix’s quirks and mannerisms, which are the most purely entertaining things about the film. Whatever the case, it doesn’t quite measure up.

Moore captivates as a woman who is either emotionally stunted and unaware or viciously in control of the whole chess board. Director Todd Haynes never cracks to let you know just which one she is. It’s possibly purposeful, but a lack of conclusion left me unsatisfied at the end of an otherwise deliciously disquieting movie.

Once again, Sofia Coppola captures how it feels to be a woman unrealistically idolized by a romantic partner — instead of simply respected.

To say The Marvels is all over the place is to imply that there is an anchor to it somewhere. There’s not.

If one definition of art is seeing what everyone else does, only in a different way, The Holdovers fits that bill. It’s a delight.

Killers of the Flower Moon is a full-on cinematic experience. It’s rare that a movie that you should see is also one you want to see. This is one.

The Exorcist: Believer is the first film in a planned trilogy. Better luck next time.

Shipka is both funny and gritty as the wry observer unwillingly drawn into the action, the kind of role at which she excels.

A feel-good romance, it’s not. A feel-bad one, more like. But Domont has loftier ideas in mind, and in Fair Play, she effectively gets them across.

It takes shortcuts to do it, but ultimately Flora and Son will make you happy. And what’s wrong with that?

The Creator isn’t a masterpiece of the AI genre, if there's such a thing yet, but it's a good start.

Dumb Money isn’t a documentary, and it’s not a go-to guide for beginning investors. It’s not trying to be. It’s trying to be something a little less weighty and a lot more fun than that, and it succeeds.

Gael García Bernal encapsulates the luchador in both the performances in the ring and in the more personal moments, ensuring both sides of Armendáriz’s legacy are remembered.

If you're looking for a fun movie to start the spooky season, this is the perfect film for you.

There's a glut of action-adventure-explosions to choose from, so it's refreshing to see a beautiful, character-driven story that feels small, but oh-so relatable.

Overall, it's exactly as absurd as it sounds, but in the best way.

Credit Joris-Peyrafitte for creating the dark, grungy world of the movie, and for making it compelling enough that you don’t want to flee it immediately. You may not want to revisit it — this is not the sort of movie that demands repeat viewings — but “The Good Mother” is a perfectly fine film.

The action-thriller is formulaic and obvious. In other words, it's just another Neeson movie, nothing more, nothing less.

The first word that comes to mind when watching Landscape With Invisible Hand is "weird." It’s very weird. But in the most thoughtful way possible. This sci-fi film packs originality in every scene and plot point.

The incongruity is shocking at first but wears off after a while, making Strays a good and funny bet for stumbling over while channel-surfing (or whatever the streaming version of that is), but not a lot more.

I'm happy to report that Blue Beetle doesn’t suffer from the ponderousness that weighs down so many other DC movies. It's lighter, more fun, and delivers the jokes, bright colors and nods to ridiculousness that you want from a superhero movie. And speaking of the superhero, the Blue Beetle emerges as relatable and easy to cheer for.

Some may dismiss Heart of Stone as another rote action film. But to really look at it, appreciate the character of Rachel Stone and truly compare her with action men, she holds her own.