It’s fantastic.

It's never less than edge-of-your-seat fun.

Promising Young Woman is a dark tale of revenge, shot through with black comedy. At every turn, it’s almost too much. As is the performance by Carey Mulligan. Except that performance turns out to be just right. It’s a no-holds-barred wonder, easily one of the best of the year.

Soul asks its audience to examine what in life truly is important. You never know what your spark might be, until suddenly you do. And it might not be what you think. Turns out you may have had it all along.

It’s a brilliant performance, Boseman coaxing so many emotions and feelings out of a deceptively complex character. His expressive eyes tell a lot of the story for him.

It’s not derivative. It’s just familiar. But it also boasts two unique elements.

Clooney’s hollowed-out performance — truly, he seems exhausted by life and disgusted by humanity, with a notable exception — is effective. But as a director, he creates two distinct worlds and struggles to bring them together.

Wonder Woman 1984 director Patty Jenkins’ long-awaited sequel, is a much better film. It’s not that it’s lacking in chaos. (With a running time of 2 hours and 31 minutes, it's not lacking in much.) It just uses chaos more judiciously. That's fitting for a film about wretched excess, about getting what you want and realizing that maybe you were better off without it.

It’s not particularly revelatory for fans, covering such a long expanse of time that it’s perhaps necessarily a little shallow in places. It is, however, a sometimes fascinating look at a career that had highs and lows even fans may not know about, as well as the tricky dynamics of creating music with your family.

I like the glitter. And I like The Prom in a general kind of way. It’s just not the show-stopper it might have been.

The film is ultimately an excuse to watch and enjoy Streep, Wiest and Bergen. Sometimes roles for outstanding actors who aren’t in their 20s and 30s anymore wind up being embarrassing misfires (see the cloying “And So It Goes” or “Book Club” for examples or, better yet, don’t see them). That’s not the case here. Let Them All Talk is a low-key success.

Marder uses sound and silence as essential character elements. He offers frequent, jarring contrasts between what Ruben hears and what we do. This isn’t just to emphasize what Ruben has lost. It’s also a reminder: Silence can be shattering. It can also be beautiful. And it can bring peace.

Bettany is outstanding. He infuses Frank with just the right amount of inner turmoil and confusion as he tries to balance his love for his family with the wounds they have inflicted upon him — and as he tries to come to terms with his own identity among them.

Like the first film, The Croods: A New Age is a pleasant enough movie. It may not make you forget the original, but only because you probably already had.

So sickeningly sweet dentists should show it in their waiting rooms to ensure business, the film just isn’t very good, even by treacly holiday film standards.

Not just an enjoyable story to watch but an educational look into hidden history that seeks to show its never a good idea to paint anyone with a broad brush.

More than anything else, Freaky is a lot of fun. Just enjoy it.

Between the siblings' adventure scenes, family tragedies and familiar characters it's hard to stay engaged with a film so gloomy, sad and sluggish. In the end, you’re left wondering what was real, whether it was all just a dream or if you're just too grown up to understand.

In effect this is a pretty standard overcoming-adversity story, particularly with the more politically oriented social observations removed. What isn’t standard is the acting.

At times it’s a learn-your-lesson story. At times it’s a shoot-’em-up that does not skimp on the gore. Whatever trope it dips into, it does so without much originality.

It’s a throwback slow-burn thriller and an over-the-top scenery-chewing buffet — sometimes in the same scene. The back-and-forth tone prevents it from being the serious examination of human behavior (and misbehavior) it believes itself to be. It makes the experience of watching more strange than immersive.

Horror movies are notoriously tough to end well — how can the last act match the lead-up? But credit Chase with coming up with an ending that fits the mood of the rest of the film without selling out the audience emotionally.

Borat Subsequent Moviefilm is certainly funny. It’s just not the flash of inspiration the first movie was — it can’t be. Baron Cohen revealed more out of contemporary America (and a lot about Arizona) with the 2018 TV series “Who Is America?” The new movie will make you laugh, but too often it’s more of the same.

The hyperreal CGI animated Over the Moon is fun, visually stunning and poignant, even if there are spurts of aimless psychedelic chaos along the way.

There is an element of sadness to this story that’s necessary to make it effective. Take that away and you’re left with a cute kids’ tale that doesn’t trust younger audiences to process the elements that can be difficult — and that make it better.

The Richardsons’ thought-provoking journey leaves you pondering not just the pain and turmoil created by the criminal justice system, but the incredible life-giving strength of love.

It’s more creepy than scary. But at least, you reckon, this not happening to you.

On the Rocks is a funny film, warm for the most part except when it’s not — and needs not to be. Minor Murray, you might call it? And yes, you could say that he’s in effect just doing the kind of thing he always does, only more so. We wouldn’t have it any other way.