Thor: Ragnarok is a blast, pure and simple.

When executed with love and peopled with actors who breathe life into their characters, Hidden Figures is precisely the delight it aims to be.

Demon is a powerful film, one that makes us wonder what greater films Wrona might have made.

A delightful look at the public career and mostly private life of the ultimate professional amateur.

Emily Blunt is practically perfect in every way as Mary Poppins. Her comedic timing is incredible, and she embraces Julie Andrews' prim and proper British snark with grace.

It’s not going to be the blockbuster hit of the summer, but it’s a cute, feel-good movie that’s combines a lot of classic elements in a creative way.

This is a film that finds horror not in the extreme, but in the mundane. That alone makes it a worthwhile entry in a genre that it both inhabits and rises above.

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.

Blade Runner 2049 stands as its own film, in addition to a continuation of the sequel. It’s not the bolt out of the blue the first movie was, but how could it be? Instead, as the break between installments would suggest, it’s a furthering of not just the original story but the original world, and that’s quite an accomplishment.

Impressionistic, unconventional and often downright weird, it’s most of all an exploration of humanity — what that means and how it is achieved.

It's Cooper's movie, and, although he has been good in pretty much everything we've seen him in, there is a depth to this performance we haven't seen before. It's a tricky balance: As the legend grows, the man diminishes. Cooper and Eastwood do an exceptionally good job of maintaining that.

Cliff Curtis is staggeringly good as Gen.

Sometimes, a movie just has a magic about it, something that makes you look past implausibility and plot holes and whatever other shortcomings it may have and leaves you feeling good just for having seen it.

There aren’t enough scares to keep you on edge in Mr. Harrigan’s Phone, but there’s enough else going on to keep you interested.

The film is a mad whirl of influencer phoniness, paranoia, imposter syndrome and parenting nightmares.

Everything is so bizarre and deadpan, the humor just sort of sneaks up on you, until you’re laughing without even meaning to. It’s a neat mix of subtlety and over-the-top bloodshed, with everything played with a straight face.

For all its ludicrous plot twists and a mystery that falls too conveniently into place, A Simple Favor is just fun. It's light and frothy.

Most of all, though, it's a welcome, offbeat look at a couple of originals, something that's in woefully short supply.

Every image feels intentional, with nothing left to chance. (This results in some amazing images, many of them involving Stone’s face.) Along with the precision of the performances, this makes Bugonia one of the more enjoyably weird times at the movies in recent memory.

"Norman” takes a largely unlikable character and inserts him into the center of its story, a gambit that seems like a surefire recipe for disaster. It’s not, thanks to Richard Gere.

If Keanu sometimes comes off as another sketch stretched a little thin, that doesn’t put it in too shabby of company. It may not be as great as “The Blues Brothers,” but it’s up there with “Wayne’s World” — and light-years ahead of “Coneheads.”

[A] searing, perversely thrilling drama.

It’s squirmy good fun — agonizing in places, in exactly the ways you want it to be.

With The Family Fang, [Bateman] shows confidence with drama and, perhaps more impressively, with weirdness, never letting things get odd just for the sake of it. He wisely doesn’t force the issue. This bunch is plenty weird on its own.

Belle is a beautiful period piece, but it's also something more: a study of racism, classism and sexism in 18th-century England.

You can read Emma's affair and its eventual effect on Edoardo as an inverted oedipal thing, or perhaps as a metaphor for decadence, the embodiment of a family that subconsciously realizes it's in decline and must fight to warm its blood.

Grande and Erivo bring that relationship to life, making “Wicked: For Good” more emotional than you’d expect. These are two really good actors whose investments in what could have been let’s-put-on-a-show theater-kid performances go much deeper.

The action and the chemistry is stronger than the story, because Gyllenhaal and Peña are good. In that respect End of Watch works better as a series of vignettes held together somewhat loosely by a larger story.