It’s still more of a spectacle than a movie. But as spectacles go, it’s a big one. And with more elements of an actual film creeping in here and there, who knows? By the time we get to the fifth one, we might have some actual cinema on our hands.

Emancipation, Antoine Fuqua’s well-meaning and graphic depiction of an enslaved man who escapes in search of Lincoln’s army and freedom for himself and his family, is a mostly affecting, no-holds-barred look at degradation, inhumanity and, ultimately, inspiration. But at times — too many times — Emancipation also plays like an action-adventure movie.

To say Violent Night isn’t for everyone overstates the obvious. But if you’re looking for a bracing antidote to Hallmark Christmas movie treacle overload, it’s a holiday treat.

The Eternal Daughter doesn’t scare you in the traditional sense as much as it moves you, and that’s every bit as powerful an achievement.

If nothing else it’ll dazzle your senses, even on a small screen.

The enormously appealing thing about Glass Onion is watching the cast have an obviously good time with their characters and with each other.

The film is cute and funny, but it’s also action-packed and much more thrilling than you might expect from a Disney movie, with the same heartwarming lessons you would expect. It's a gem in Disney's new catalog.

It lags in a few places, but She Said gives you a journalism story to cheer for.

Exceptionally well made, tougher than you'd think in its depictions of a troubled marriage and full of deep performances — it's outstanding.

Mylod, working from a script by Seth Reiss and Will Tracy, goes all in on the social commentary. Some of it is funny, some of it appalling, none of it as engaging as when Mylod uses food to make statements.

Without Lohan, Falling for Christmas would be another of the near-anonymous morass of holiday movies so prevalent during the season. Even with her it’s not much more.

Wakanda Forever misses Boseman greatly — the entire film is about missing him — but it moves the story forward in a way that seems logical and fitting.

Weird: The Al Yankovic Story is like eating ice cream for breakfast. Sure, it sounds like a good idea, and for a while it actually is. But eventually it starts to feel like too much.

Armageddon Time is above all what it sets out to be: a story about growing up, and all the joy and pain that entails.

The way Park composes each frame is masterful. Sometimes the set-ups are intended to throw you off the scent of what’s happening, but wow, who cares when a film looks like this?

It's visually stunning, well written and the acting is top-notch. But without context, the plot falls flat, leaving behind an unsettling and bizarre film.

It is a fascinating document of making a comeback record — sorry, Tanya — while balancing the hard work and the gentle coaxing and cheerleading required when working with a complex talent like Tucker.

My Policeman weaves a compelling tale of star-crossed love through different perspectives and timelines.

Yes, it’s graphic. But that’s the point. The discrimination and racism that fueled Emmett Till's murder and sparked the civil rights movement are still omnipresent.

If this is the end — and who are we kidding, the film’s box-office returns will determine that, not its plot — it’s a disappointing one. But it’s long past time to let it die.

The star wattage is blinding, but the film fizzles out.

Blanchett navigates this journey with ferocious power — even as Lydia is losing her own. It sounds like a cliche, but her performance is so believable, so natural, which at times means so disturbing, that it doesn’t seem like she’s acting. She’s just being.

The film . . . is good, not great; it never quite marries the skewering of New York elites with the true-crime feel of its grittier elements. But the performances keep it mostly on track.

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.

Too often the jokes don’t land. Neither does the physical comedy. The story doesn’t really hold. It’s clear that Schneider and his daughter love each other, and this film is a way to express that. But it’s a lot to ask of the rest of us to watch it.

Some new elements do work . . . But Hocus Pocus 2’s best parts are familiar and beloved to fans of the original movie.

What Finn’s film lacks in originality it makes up for in technical prowess, and he has the courage of his convictions. The colors, even the ones that should be bright, are muted. Everything is just a touch off, until it’s a lot off. Smile isn’t a great horror film, but there’s plenty here to make you … well, you know.

Bros is a truly funny, smart and well-written romantic comedy about love in all its forms, and that's something we can all use more of in our lives.