It’s impossible not to think of military training camp staples such as “Full Metal Jacket” and “An Officer and a Gentlemen” when experiencing writer-director Elegance Bratton’s semi-autobiographical The Inspection. While Bratton’s film isn’t in the same league as those classics, it’s a strong and memorable if predictable boot-camp journey that features many of the same elements of the first half of “Jacket” and the entirety of “Gentleman” — most notably in that all three films feature an alpha male drill instructor who will either defeat his recruits and send them home, or turn them into lean mean fighting machines.

Poker Face has a lean, cool look, and there are some effective dramatic moments, mostly due to the weight-of-the-old weariness in Crowe’s powerful performance. Unfortunately, Paul Tassone’s over-the-top theatrics as the main villain border on the cartoonish, as the psychological gamesmanship gives way to standard action movie stuff, and the cards and the chips have long been forgotten.

The talented young leads acquit themselves well here, but this is also the kind of movie that provides the forum for not one but two of our finest character actors to deliver performances so hammy you’ll be reaching for the spicy mustard sauce.

It’s a family-friendly fun fest with the expected ingredients of fast-paced action, ingenious visuals, terrific voice performances and, yes, some heaping spoonfuls of upbeat messaging about family ties, the importance of being true to oneself and how we should all take great measures to take care of not only each other but the world in which we live, no matter how STRANGE that world might be.

While the pace is occasionally glacial and the screenplay indulges in any number of journalism-movie tropes, and She Said is not in the same league as those aforementioned classics, it is nonetheless a solid and straightforward telling, with Carey Mulligan (as Twohey) and Zoe Kazan (as Kantor) doing authentic and finely calibrated work.

If watching “A Christmas Story” is a part of your annual holiday ritual, you might want to make time to catch the sequel. It’ll make for a warm double helping of Christmas nostalgia.

Working from a clever if sometimes ridiculously over-the-top script by Seth Reiss and Will Tracy, the British director Mark Mylod (“Game of Thrones,” “Succession”) teams with a well-cast ensemble to deliver a deadpan spoof of “Cabin in the Woods” type horror films, draped in a “White Lotus” setting.

With Ferrell and Reynolds striking just the right combination of hipster comedy with genuine sincerity, and the musical numbers working as parody but also toe-tapping entertainment, Spirited is … that’s right … a big cup of holiday cheer for the whole family.

The Scottish writer-director Charlotte Wells’ minimalist masterpiece Aftersun draws us into the lives of a father and daughter on a summer vacation in such a natural and gradual way that we feel like we truly know them as the days and nights go by, and we care deeply about them. And yet it still comes as something of a jolt when the final moments of this movie hit us SO hard, like a sledgehammer to the heart.

It doesn’t break any new ground and I’m not convinced it required a 2 hour and 41 minute running time, but despite a few overlong interludes midway through the story and a couple of battle sequences that pretty much look like the fight scenes in a dozen or two previous MCU movies, this is a rousing adventure and a most welcome return to one of the most visually arresting and culturally rich settings in the superhero universe: the kingdom of Wakanda.

Weird has the ingredients of a brilliant half-hour special stretched too thin.

Sometimes the choices a film eschews are as valuable as the choices the film makes. In the case of Causeway, the result is a thoughtful and realistic slice of life that is set in present times but has the distinct vibe of indie films from a generation or two ago.

There are times when this film feels absolutely real and lived-in, as when Paul’s extended family gathers for dinners where everyone talks at once and nobody is listening, and you can feel the tensions but also the enduring and abiding love at the table. Unfortunately, Gray’s central young character isn’t as sympathetic or likable as the talented filmmaker must have intended, and the constant lecturing about white guilt among liberals is delivered in all caps, with exclamation points.

With God Forbid, Corben serves up a neon potpourri of slick visuals, quick cuts, clever re-creation techniques, needle drops such as “Jesus Piece” by The Game, the use of archival footage and sit-down interviews to tell the incredible but true story of one of the most stunning sex/religious/political scandals in of this century. (And let’s face it, that’s saying a lot.)

Making great use of 21st century technology, this latest version is the most visually sweeping and impressive version yet, and it comes close to matching the original for its visceral, gut-punch effect.

We’ve known for a long time Elizabeth Banks is equally deft at handling comedy and drama, and in one of the most serious and important roles of her career, Banks comes through in powerfully effective fashion. Call Jane is a drama that carries the ring of historical truth.

In “Banshees,” Gleeson and Farrell once again are pure movie magic together, with Gleeson’s gruff and rugged and imposing persona the perfect counterpart to Farrell’s handsome and wide-eyed transparency, which at times borders on the, well, the not-too-bright. Earnest, but not too bright.

For all the gorgeous visuals in Brighton and Venice, and the scandalous-for-its-time storyline about a married man carrying on a torrid love affair with another man when being gay was literally a crime, My Policeman never really resonates.

We’re only about 20 minutes into the half-baked, ultra-lightweight, almost instantly forgettable rom-com “Ticket to Paradise” when our hearts start to sink, as we realize this big-screen re-teaming of Julia Roberts and George Clooney is quite likely going to be sideswiped and eventually sunk by a leaden screenplay that doesn’t come close to maximizing their massive respective star power.

While the talented and versatile director Paul Feig (“Freaks and Geeks,” “Bridesmaids,” “A Simple Favor”) displays an admirably ambitious reach, and there are some impressive visuals, The School for Good and Evil never quite finds its footing.

In the hands of the Danish director Tobias Lindholm and screenwriter Krysty Wilson-Cairns (“1917,” “Last Night in Soho”) and thanks in large part to the towering twin performances of the equally chameleon-like Chastain and Redmayne, The Good Nurse is a solid albeit conventional medical thriller that overcomes a few plodding stretches and ends in bittersweet fashion.

The Scotsman who often plays majestic characters and the Texan who specializes in playing antiheroes play beautifully off one another in writer-director Rodrigo Garcia’s offbeat gem, which starts like an adaptation of a Sam Shepard play before eventually settling into something a little more conventional, but nonetheless satisfying.

Stars at Noon is all sweaty style with very little true substance.

They say this is Halloween Ends. I say: Can we get that in writing?

Even as TÁR delivers as an intellectually soaring, elaborately constructed and passionate tribute to the technical AND emotional joys of playing, conducting and appreciating beautiful music, it also becomes a knowing and timely #MeToo fable.

In Till, we see how Emmett had music in his heart and a bounce in his step and was just beginning his life’s path when monsters came calling in the middle of the night — and we’re once again filled with admiration for Mamie Till-Mobley, who made sure we never forgot.

It’s exciting to revisit the battles, starting with a blowout of a tough Greece team, a victory over the talented Argentina squad, and the epic final battle against Spain.

While the material at times veers close to exploitation, Knoll’s writing and Kunis’ performance ensure this is ultimately a tale of survival and perseverance — of a victim who refuses to let that label define her.