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.

“Pleasant” is probably the word best used to describe the whole film. Mostly Jules is just an excuse to spend some time with Kingsley, Harris and Curtin doing things we don’t always see them do.

Rogowski carries the film, and it is quite the performance — one whose appeal is difficult to work out in your head, which makes it all the better.

Randall Park, the actor (“Fresh Off the Boat”) making his feature-directing debut with a script Adrian Tomine adapted from his graphic novel, displays a confidence here that is infectious.

Highlighted by great voice acting, especially from the four actors playing the main teenagers who are relatively unknown actors — and by Ayo Edebiri, who is taking over the summer with her starring role in "The Bear" — the movie will catapult the ninja turtle lore into yet another generation. Cowabunga!

The elements of a good story are here, and the talent to tell it is more than willing. The movie just never quite gets there.

If you have young kids and want to spend two hours out of the house in a cool, air-conditioned theater, then go see “Haunted Mansion.” But if you can hold out until it’s released on Disney+ all the better. It’s really not worth spending money on the ticket.

It’s a horror movie that is actually scary; it’s got a good idea that feels both relevant and contemporary; and it’s really gross. (That’s a plus — it is a horror movie, after all. Sometimes they skimp.) I just wish I understood its logic a little better.

It’s powerful, a technically dazzling achievement; so audacious is Nolan’s filmmaking that if it didn’t serve the story you’d think at times he was just showing off. He’s not.

It's Gerwig’s movie, Gerwig’s take on childhood and the patriarchy and feminism and love and death — boy, death — all wrapped in a package that continually surprises. So yeah, it’s not what you think it is. It’s better.

If you were a theater kid, this movie will feel like an inside joke written just for you.