There’s a terrifically entertaining sequence late in the film that plays like an homage to a certain element of the original “Poltergeist,” and a thrilling and nerve-wracking extended final sequence that will put you on the edge of the proverbial seat.

An excruciatingly cheesy, hopelessly dated, profoundly unfunny and tone-deaf romantic comedy about an intelligent, hard-working, likable and lovely woman.

The Craft: Legacy is a smart, edgy, wickedly funny and wild ride from the talented writer-director Zoe Lister-Jones.

Through the psychedelic journeys and the blood-spattered crime scenes and the brooding atmosphere, Synchronic is at heart a good old-fashioned buddy movie about two friends who will risk all for each other.

Ten minutes into Lombroso’s film, it’s painfully clear these are people with ugliness in their hearts and dangerously racist ideas. But there’s value in seeing these how these hate hucksters operate and going behind the curtain to see how small they really are.

It’s just an awful and ridiculous and clumsily edited B-movie mostly of interest because of the name cast, an insanely horrible concert within the film — and the incredible back story about the making of “Grizzly II,” which could be great material for a fictional adaptation a la “Argo” or “The Big Short” or “American Hustle.”

Sacha Baron Cohen remains a fearless and funny comedic force, and Maria Bakalova is hilarious and endearing as Tutar. We also get a clever twist ending and I’ll say no more than that. Borat is an idiot, but “Borat Subsequent Moviefilm” ends on a pretty smart note.

With a running time of 1 hour 55 minutes, Bad Hair might have benefited from a quick trim (sorry), and it’s a real mess at times, but you won’t soon shake off its genuinely scary and originally twisted delight

The special effects are first-rate and the performances are way over the top yet entertaining, but The Witches is far too disturbing for young children and not edgy enough to captivate adults.

The Devil Has a Name is a master class in casting.

Even a warmed-over, behind-the-times Woody Allen script is going to contain some choice one-liners, and this is a superb cast that knows how to put the right spin on clever dialogue — even when they’re playing thinly drawn characters in a dated and unnecessary story.

It’s funny as hell in a drive-in splatter movie kind of way, smart and insightful and respectful in its depiction of modern-day teens, brimming with sly and satiric social commentary — and legitimately profound.

The argument about whether Sandler is terrible or talented has long been settled. The answer is both.

Jones and Murray are wonderful together; many of the best scenes in On the Rocks are when it’s just the two of them, verbally fencing.

More than a half-century after first taking the stage, “The Boys in the Band” still leaves us with so much to think about, so much to feel, so much to consider.

Even the smaller touches in Save Yourselves! ring true.

As the plot grows increasingly convoluted and borderline laughable, Chastain is steady as she goes, playing a character who’s worthy of a film franchise in a movie nowhere near deserving a sequel. Odds are we’ll never see Ava again, and that’s a shame because, with a better script and more inspired direction, she could have been a contender.

Certain events are rearranged from the factual timelines, and yes, The Trial of the Chicago 7 exercises poetic license. This is not a documentary; it’s a dramatization of events that resonates with great power while containing essential truths, and it’s one of the best movies of the year.

Following the playbook of “The Full Monty,” “Calendar Girls,” “Military Wives,” et al., Misbehaviour achieves just the right mix of farcical humor, dry wit and the obligatory dramatic moments when the light banter and sight gags give way to Poignant Confrontations reminding us there are serious undertones to this breezy romp.

This is one of the better intimate dramas of the year.

The Way I See It tells Souza’s remarkable story in straightforward and effective fashion, as even Souza himself seems surprised at the turn his life has taken.

The pairing of Law and Coon as a married couple doing an extended love/hate dance in The Nest results in an absolute master class in acting.

That this is such a well-made production, with passionate and strong performances from the stellar cast, makes it all the more exasperating. What a missed opportunity

Foster Boy certainly follows the legal thriller blueprint, sometimes to credulity-stretching limits — but this is a solid and important story about systematic abuse within the foster care system, featuring an outstanding cast including a half-dozen seasoned veterans who know how to sell even the most melodramatic moments.

The material can get awfully sudsy and we can see a couple of the big reveals coming two scenes in advance, but on balance this is a well-written, moving story bolstered by an outstanding cast.

At first, the jigsaw puzzle seems needlessly difficult to solve, but once all the pieces are in place and we see the big picture, we’re left with admiration for director/co-writer Antonio Campos’ ability to weave a memorably brooding film from Donald Ray Pollock’s novel of the same name.

We learn all kinds of illuminating factoids.

Reddy’s story is given the standard, time-honored biopic treatment in I Am Woman, which checks off just about every cliché imaginable — and yet wins us over, in large part due to the star-power performance of Tilda Cobham-Hervey as Reddy.