The breezy and cheeky Extra Ordinary (that’s how they’re spelling it and you’ll find out why if you check out the movie) is a romcom/possession movie with some of the biggest laughs in any film this year — and some pretty nasty and cool special effects as well.

The gifted director Kelly Reichardt (“Old Joy,” “Wendy and Lucy,” “Meeks Cutoff”) adds to her impressive canon of minimalist, Oregon-set treasures with an immersive and deceptively simple and uniquely original frontier morality play set in the unforgiving Pacific Northwest of the 1820s.

Nothing incendiary to see here, folks. Just a mostly forgettable, slow-season splatter movie.

It’s a fantastically over-the-top, drive-in B-movie for the streaming generation.

All the players in The Misogynists sound as if they’ve been handed talking points instead of a screenplay.

To Annette Bening’s credit, she finds just the right notes to illustrate Grace’s capacity for love, as well as her special gift for never letting up and driving you a little bit crazy.

Michael Winterbottom (“The Claim,” “24 Hour Party People,” “Code 46”) is a wonderfully gifted and versatile director, so it comes as no small surprise Greed is such a thudding. one-note takedown of a fictional avaricious fashion mogul.

The story fluctuates between the uninspired and the just plain weird — and then gets even weirder. It’s too basic and familiar to keep parents and older children consistently entertained, and too trippy and existential for the little ones.

This is a film brimming with essential truth about the events at hand, and it delivers an impactful but also entertainingly resonant message. It’s also a crackling good, emotionally satisfying, old-fashioned thriller, with readily identifiable heroes and hiss-worthy villains.

It’s a tart little gem, bolstered by a bounty of clever and winning performances.

Elisabeth Moss delivers the best performance of her film career, carrying the story every step of the way.

There’s something wonderful, albeit borderline shameless, about a movie that gives Billy Crystal a hall pass to indulge his corniest instincts, from his character’s gimmicky hat to his karaoke scenes to his baseball-influenced memories.

Ordinary Love gets everything right, but there’s almost nothing in the way of a major plot revelation or insightful flashback explaining certain elements from the past.

Most problematic of all is the character of fictional FBI Agent Jack Solomon (Jack O’Connell), who is tasked with leading the surveillance and digging up dirt on Seberg and becomes deeply conflicted about his job.

Ford gives a grounded, quietly powerful performance as a reclusive, regret-filled, self-pitying old-timer who crawls out of a bottle and finds a renewed sense of purpose when he sees the world through Buck’s eyes. If only those eyes weren’t so distractingly incongruous.

This is a scary movie that loves other scary movies.

The only thing more insane and contrived than the Big Reveal is the epilogue, which contains not one but two maddeningly bizarre developments that are beyond strange and inconsistent, even for a movie that’s been strange and inconsistent all along.

It’s a knowing and insightful look at how lives can be forever changed and love can be lost or gained in a single moment.

Come As You Are has a wonderful way of making even the most obvious situations seem fresh and funny and original.

Despite the invaluable comedic/dramatic gifts of Julia Louis-Dreyfus and Will Ferrell, who do their best to inject some life and energy into the proceedings, Downhill is a pale, tame, broad and soft-edged remake of the far superior 2014 Swedish film “Force Majeure.”

It’s a Hollywood story of a spectacular rise to the top that was quite apparently a real-life horror story all along.

Brie’s performance is open and honest and disturbing and funny and lovely and resonant. The work is so good and so convincing that even when Sarah is spouting the craziest of her mad theories, there’s a small part of us that wonders if Sarah’s truth is the real truth. We certainly believe SHE believes.

Robbie turns in a much richer and funnier and layered performance as Harley this time around, thanks in large part to the stiletto-sharp screenplay by Christina Hodson.

No blood is shed. No bodies turn up. And yet The Assistant is one seriously chilling monster movie.

Despite a game performance by Lively, The Rhythm Section is a junk pile of missteps, from the convoluted screenplay that hops from locale to locale in Advil-inducing fashion to the overly stylized directing to the self-consciously “cool” oldies pop music selections.

Over all, Noelle is subpar — but it’s silly, harmless fun. It’s so forgettable it’ll be virtually erased from your memory five minutes after the end credits roll.

Klaus is a weird, meandering tale — but it has a distinctive visual style and a sly sense of humor and features brilliant voice work from the ensemble cast.

The Gentlemen never ceases to surprise and amuse.