Troop Zero is so sugary you’d get a cavity if you bit into it — but it’s also a cozy, satisfying and inspirational underdog tale, featuring a wonderful performance by Mckenna Grace.

Almost nothing that takes place in the last 20 minutes of this movie could ever transpire in anything resembling the known universe. By then, you’ll have long since either checked out or decided to strap on the popcorn bag, put reality on hold and just go with it.

We have the first serious contender for Wasted Opportunity of the Decade.

Underwater breaks no new ground as a sci-fi horror flick — other than as a possible contender for the murkiest movie ever made.

This film is a symphony of recognizable notes.

Imagine how great it would be to see a vehicle worthy of the respective likability, comedic chops, intelligence, onscreen charisma and beauty of Tiffany Haddish and Rose Byrne. No, I mean you’re really going to have to imagine that, because Like a Boss is not that movie.

With brilliant, innovative, claustrophobically effective directing choices by Mendes, Oscar-worthy cinematography from the living legend Roger Deakins and strong, raw performances from the two young leads, 1917 is a unique viewing experience you won’t soon shake off.

This is terrific family entertainment.

Uncut Gems is part psychological thriller, part black comedy, part thriller and part dysfunctional extended family drama — and it clicks on all those cylinders.

Through Gerwig’s wonderfully creative prism, it’s as if we’re meeting the March sisters for the very first time, and we’re immediately swept away in a gorgeously filmed, wickedly funny, deeply moving and, yes, empowering story with themes still relevant some 150 years after the time period of these events.

A Hidden Life is one of the most metaphysical films ever set against the backdrop of World War II.

While there’s a whole lot of fiction in this based-on-real-events tale, the essence of truth rings through.

Cats is a slick and tedious and weird-looking exercise in self-indulgence.

The Rise of Skywalker rarely comes close to touching greatness, but it’s a solid, visually dazzling and warmhearted victory for the Force of quality filmmaking.

There are far more laugh-out-loud moments in the first half of Jumanji: The Next Level than in the second hour, but I liked the unexpected (if kinda trippy) spiritual element that comes into play late in the story.

Paul Walter Hauser, perhaps best known for his portrayal of another sad-sack wannabe in “I, Tonya,” delivers screen-commanding work as the title character.

This is a surprisingly and disappointingly tame film, in which Morris is almost deferential to Bannon.

Mark Ruffalo is a master at playing a certain type of earnest character who often wears a quizzical expression — not because he’s slow on the uptake, but because he’s the smartest person in the room and he has questions no one else has even thought to ask.

This is one of the best and most important movies of the year.

We’re not buying ALL the hype and hokum sugarcoating this fact-based fairy tale, but we’re happy to come along for this particular ride.

This movie rocks.

The Two Popes is the kind of well-made but flawed release you can wait to catch on home video.

As a stand-alone work of cinema fiction, A Million Little Pieces is an effective blunt instrument of a film — a rough-edged, unvarnished, painfully accurate portrayal of addiction and rehabilitation.

This is one of those movies where it looks like the immensely appealing cast had as much fun making the film as we have watching it — especially because so many of these familiar faces are playing against type.

Time and again, supposedly smart characters do really stupid things, just so the plot can continue to stumble along.

Working from a sharp and unflinchingly honest screenplay by LaBeouf, director Alma Har’el delivers a smart and knowing inside slice of show business life that also serves as a harrowing cautionary tale about abuse and about encouraging your children to become professional entertainers when they’d most likely be better off having, you know, an actual childhood.

To say this film doesn’t follow a conventional narrative is putting it mildly. One can understand how some viewers will be thrown off, maybe even put off, by the radical change in plot course midway down the stream. I found it to be a fresh and bold and immensely effective choice.

Directors Jennifer Lee (who also wrote the screenplay) and Chris Buck, along with the obligatory army of talented Disney animators, deliver one brilliantly rendered set piece after another.