The material is pretty thin and some of the jokes get repetitive, but Get Duked! is good stoner comedy fun, and quite the promising debut from a rookie filmmaker.

I’m Thinking of Ending Things is crazy good.

The result is just a bigger, louder, more special effects-laden extension of a franchise that skated on pretty thin ice the first two times around.

There’s no doubting Arquette’s sincere desire to learn the sport and craft of wrestling, to get into shape, to resuscitate his career, to make his family proud. We’re still rooting for the guy.

It offers some valuable insights into Trump’s behavior, and offers a compelling counterargument to some widely accepted notions about whether or not psychiatrists should even be allowed to comment on the mental health of individuals they have not personally treated.

In the flourishing genre of faith-based movies, this is one of the better efforts we’ve seen.

Take the “smart” out of “Booksmart,” the “super” out of “Superbad” and the edge out of “The Purge,” and you get the Hulu movie The Binge, one of the worst comedies of this or any other year, notable only because it features what might just be the most terrible performance in Vince Vaughn’s up-and-down career, and I say that with no glee because I’m a Vince Vaughn guy.

The 24th is an important reminder of a dark chapter in American history.

Tenet reaches for cinematic greatness and, though it doesn’t quite reach that lofty goal, it’s the kind of film that reminds us of the magic of the moviegoing experience.

Armando Iannucci (creator of HBO’s “Veep”) transforms Charles Dickens’ masterful but often dour and cumbersome 624-page Victorian novel into a brilliant piece of entertainment that often plays like “Alice in Wonderland” as interpreted by Monty Python.

I found it to be a fantastically creative, fourth-wall-breaking, pop-art waking dream.

There are times the family-friendly slapstick comedy and heavy messaging about the heartbreak of animals in tight, dark, cold captivity don’t exactly mesh. But the visuals are truly impressive and the story has an uplifting arc, and oh do these actors have fun hamming it up.

Words on Bathroom Walls has its moments and its heart is in the right place, but the missteps are too many and too big for the story to carry the day.

You feel a hurricane of emotions watching Barbara Kopple’s brilliant and searing documentary Desert One.

The young and attractive cast does a fine job of selling the ridiculous plot developments; it’s probably great fun to make a drive-in horror film complete with gallons of fake blood and one character after another biting the dust in creative fashion. Plus, Danny Trejo!

Russell Crowe is an A-list star in a B-movie, but to his credit it never feels as if he’s slumming it.

Cut Throat City ends on a note that’s too clever by half, but that doesn’t undercut all the vibrant, rough-edged, impressive storytelling that led to that moment.

The overwrought score and the Orwellian themes announce “Barbarians” as a prestige project brimming with Big Ideas, but it’s ultimately stilted and didactic, and more than a bit nasty.

For every moment of inspiration and hope in the teen-political documentary Boys State, when you find yourself thinking, By gosh, the kids are all right, there are at least two jaw-dropping instances of 16- and 17-year-olds compromising their values with such cynicism you weep for our future.

Every frame of the film is bursting with sensory overload information, from the shaky, hand-held camera angles to the constant scrolling of viewer messages to the occasional use of split screens.

A vibrant and crazy and thought-provoking and immensely entertaining film that could have been even more resonant had it not settled for a relatively conventional final act we’ve seen in dozens of thrillers.

The Tax Collector is an underachieving, exceedingly violent urban gangster film with a meandering storyline and a contrived final twist.

She Dies Tomorrow is a well-crafted, beautifully acted, minimalist gem for our times.

Spinster isn’t a particularly visually arresting film, nor is it bursting with memorable and colorful supporting players. It’s simply an effective vehicle for Chelsea Peretti to expand upon her smart/cynical persona to include some genuine heart and likability as well.

This is no piece of pretentious fluff. It’s a grim and nasty but wickedly entertaining bit of business, seasoned with sharp little plot turns before an admittedly ludicrous but dramatically satisfying twist-on-top-of-a-twist ending.

There’s little in the way of originality in Work It, but there’s a fresh, upbeat, infectious vibe to the silliness, thanks in large part to the talented and likable cast of young actors.

Rogen does a remarkably fine job in creating two distinct characters.

[An] uplifting and inspirational and just plain cool documentary.