Trippy and entertaining mind-bender.

Levinson’s dense and richly layered, albeit sometimes overly theatrical, script affords Washington and Zendaya multiple opportunities to showcase their considerable talents and for the discourse to expand beyond the fraying relationship.

For a time, The Dig is a quiet little gem of a drama with only a few characters, but after Basil uncovers what appears to be an intact, seventh century Anglo-Saxon ship with far-ranging historical and cultural implications, Sutton Hoo gets quite crowded with new characters and a myriad of subplots, most examining the classism and sexism of the era.

We know we’re being manipulated from time to time, but the messaging is so earnest and the performances are so heartfelt, we’re willing to go with it. Call it a Comfort Movie.

Neither man is right; neither man is wrong. Neither man can do anything to ward off the inevitable. All they can do for now is soak in every last moment they have together, and oh do we wish for them to have as many of those moments as they possibly can.

Malek and Washington are electric together in this atmospheric, moody thriller that will keep you guessing and on the edge of the proverbial seat (or living room sofa). You won’t be able to shake this one off for a very long time.

Watts is such a chameleon of an actress, such a pro at slipping into a vast array of roles without drawing attention to the mechanics of her work, that we almost take for granted how damn good she is — and she delivers beautiful and resonant work as Sam.

It’s a tribute to the amazing and fantastically perplexing and singularly mind-blowing Hulu film “In & of Itself” that even though a few of the feats performed by magician/actor/storyteller/performance artist Derek DelGaudio in his one man-show could be explained away by the use of special effects (which DelGaudio does NOT employ, as far as we can tell), most of it just seems ... Magical.

For a movie called The Marksman, we rarely Jim actually demonstrating his marksmanship, as we’re left with Neeson again doing extended, hand-to-hand combat with a much younger, cockier foe who has no idea what he’s up against.

Conor Allyn’s No Man’s Land is filled with noble ideas about the value of listening to and learning from the “other side” in the immigration crisis, but as it becomes increasingly heavy-handed, we feel as if we’re sitting in on a lecture.

It’s an uneven but memorable tale about a young man with impressive survival instincts and a conscience that shifts to fit the circumstances.

Our Friend occasionally goes overboard on the sentiment. But thanks in large part to Segel’s huggable-bear persona, Affleck’s typically steady work and Dakota Johnson turning in perhaps the most impressive performance of her career, the laughs and the tears feel quite real.

Director Lance Oppenheim (who at 24 is a good half-century younger than his subjects) employs a straightforward, deadpan style that suits the material well, avoiding condescension or cutesy gimmicks as he introduces us to a number of residents of the Villages.

Not that Frank is without talent or without charm. He’s still out there performing, and he’s got a hell of a voice, and he sure has a way with a story.

Essentially an extended infomercial but works as a breezy, slightly goofy, occasional touching and infectiously upbeat slice of entertainment

One Night in Miami is filled with profoundly impactful exchanges, and a sprinkling of edgy, comedic observations.

Writer-director-producer Emerald Fennell (who is also an actor and plays Camilla Parker Bowles on “The Crown”) delivers a sensational first feature film with this well-crafted, bold, visually stunning and emotionally resonant gem.

News of the World works at the highest levels as a story of two lost souls who find one another, and as a crackling good, blood-spattered Western.

With a richly layered and resonant screenplay by Kata Wéber, surehanded direction from Mundruczó and a stunningly authentic performance by Vanessa Kirby (“The Crown”) sure to garner an Oscar nomination, Pieces of a Woman is a stark and unforgettable character study about love and loss, and what loss does to love, and how some tragedies are so devastating, so huge, the survivors will never be the same.

As the plot twists grow increasingly ridiculous and some of the main characters have to act like complete idiots just to keep the story rambling along, “Fatale” commits the crime of somehow becoming tedious and dull even as the body count piles up.

The deeper Shadow in the Cloud dives into sci-fi fantasy territory, the more we’re asked to just go with it and enjoy the spectacularly choreographed action sequences — but thanks in large part to Moretz’s ferociously effective work, we’re all too happy to take that zany ride.

Here is a strikingly beautiful, bold, funny, heart-tugging otherworldly journey almost dizzying in its multi-leveled complexity, and yet containing the simplest and most enduring Capra-esque messages about how we don’t know what we’ve got until it’s gone, and how we should embrace every waking moment because it can all vanish in the blink of an eye.

Though aimed at a young audience, this is one of those superhero adventures that will keep the adults entertained as well.

The Midnight Sky is a waking dream that keeps you in its grips.

Like the great Douglas Sirk melodramas of that time period, Sylvie’s Love is unabashedly sentimental and just gorgeous to behold — but the difference here is the terrific ensemble cast is primarily Black and Latinx.

Writer-director Amy Miller Gross clearly is a competent director and has a fine ear for dialogue; it feels as if “Sister of the Groom” exists in the real world. Alas, it’s not a world where you’d want to hang out, unless your thing is watching selfish narcissists do verbal and sometimes physical battle over decidedly First World Problems.

Boseman is in utter command of his character. It is a beautiful, sad, wonderful, bittersweet thing to behold.

While this worshipful documentary breaks no new ground and often seems like little more than a glorified IMDB bio accompanied by video, it serves as a lovely and valuable reminder of Hepburn’s unique star power and grace in front of the camera — and her kindness and tireless work for the less fortunate long after she had kissed the cinema a fond farewell.