Directed in solid fashion by someone listed only as “Ives,” with a zippy if at times preposterous script from Dipo Oseni and Doug Richardson that might not totally hold up under scrutiny, “Cash Out” has a certain undeniable style, as personified by the use of Frank Sinatra’s “You Go to My Head” over the opening credits.

The People’s Joker pushes boundaries and questions the status quo, but it also works as a sincerely told origins story for Joker the Harlequin.

There’s no denying the “John Wick”-type artistry involved in some of the action sequences, but the screenplay invokes far too many gimmicks and eventually takes some wild Act III turns that feel manipulative and borderline ridiculous.

The sweat-drenched and emotionally bruising “Challengers” from director Luca Guadagnino (“Call Me by Your Name”) joins the likes of “King Richard,” “Wimbledon,” “Final Set” and “Battle of the Sexes” as one of the best tennis movies ever.

It’s an occasionally interesting, well-acted mess.

The acting, practical and special effects and production design are all superb. The script is repetitive, tedious and a whole lot of ho-hum.

With Smollett, Howery and Merkerson infusing life and depth into the adult characters, and the young actors Blake Cameron James and Gian Knight Ramirez turning in natural and affecting work, “We Grown Now” will resonate with you for a very long time.

Adapted from Damien Lewis’ book “Churchill’s Secret Warriors: The Explosive True Story of the Special Forces Desperadoes of World War II” and featuring stunning visuals from the location shooting in the beautiful city of Antalya, Turkey, “The Ministry of Ungentlemanly Warfare” is a fantastic blending of some basic facts and a whole lot of fictionalization, including shuffling of the timeline.

Sasquatch Sunset is the kind of film that seems almost pre-ordained to reach some level of cult status. Godspeed to those who will embrace its epic-level gross-out factor. I guess I’m just more of a Bucky Badger guy.

In this taut and gripping drama from director/co-writer Marco Perego (Zoe’s real-life husband), Saldaña delivers arguably her most impactful performance yet in a film that mirrors today’s headlines but eschews overt political commentary in favor of an unsparing, realistic and sometimes tragic story about humanity, and in some cases, the lack thereof.

With horrific wars raging in other parts of the world, and with politically charged violence part of the fabric of this country, “Civil War” will hit home no matter where you live.

It’s the Damien origin story we never knew we needed.

Just when you think “The Greatest Hits” has painted itself into a corner, the script finds a way and the story lands in just the right place.

Dev Patel comes out swinging in the monumentally entertaining and bare-knuckled revenge flick “Monkey Man,” serving up a series of extended and elaborate fight sequences so bruising and hyper-violent they make the action in the “Road House” reboot seem like a game of Rock-Paper-Scissors.

The chief delight in “Wicked Little Letters” is watching Colman and Buckley in action.

Godzilla x King Kong: The New Empire is the definition of an old-fashioned (with new technology) popcorn movie and there’s certainly no harm in that, but at the end of the day, it feels like the stakes have never been more medium.

With cinematographer David Ungaro providing hand-held docudrama work in saturated colors, “Asphalt City” is bleak and heavy-handed, yet we get the feeling a lot of paramedics in major cities would say it’s not all that far from the harsh realities of the job.

The Truth vs. Alex Jones is a scathing and well-deserved takedown of the abhorrent hatemonger and huckster whose name is in the title, but the bleating talk show host isn’t the only villain in this story.

Despite a promising beginning, “Immaculate” relies too much on jump-scares and disturbing imagery for the sake of shock, and flies off the rails with an absolutely bonkers climactic sequence that plays like something out of a cheap horror film.

The remake bounces all over the place with a convoluted storyline, a number of superfluous characters and two main villains who are sorely lacking — one because he’s a bland nothing, the other because he's so far over the top it’s like he’s in a Saturday morning cartoon.

Sleeping Dogs has pacing problems, and the direction is competent but not particularly stylish. What holds the film together, and what holds our attention to the very end, is the powerful performance by Russell Crowe as a man haunted by demons he can’t quite remember.

I’m pleased to report that Ghostbusters: Frozen Empire carries the same endearingly goofy, science-nerd spirit of the first film and delivers a delightful balance of slimy ghost stuff, sharp one-liners, terrific VFX and a steady stream of callbacks to various characters, human and otherwise, from the 1984 movie.

Writer-director John Ridley and star Regina King get right to it in the Netflix original film “Shirley,” a no-frills, straightforward and inspirational biopic of the iconic and pioneering Shirley Chisholm, the first Black woman elected to the United States Congress and the first Black candidate for a major party nomination for president.

It’s the kind of film that grabs you from the opening sequences and holds you in its grimy grip all the way through the closing credits, when the s- - - is still hitting the fan.

Writer-director Keating knows how to deliver the goods in lean fashion, with “Invader” clocking in at just 70 minutes and ending on a fantastically creepy note of utter dread.

This is every inch the prestige Brit biopic, from the use of certain visuals as transitions to the lush and rousing music by Oscar-winning composer Volker Bertelmann aka Hauschka (“All Quiet on the Western Front”) to the sometimes heavy-handed messaging in the dialogue, but the story of the man who came to be known as “The British Oskar Schindler” is deserving of the reverent biography treatment, and who better than Anthony Hopkins to tell us that story?

The supporting work is stellar, but this is Michael Keaton’s film to carry every step of the way, and he turns in a typically fine and layered performance as a man who might find relief in the loss of his memories, given all the dark acts he’s committed.

Directed by Peter Farrelly from a story/screenplay credited to a total of eight writers (rarely a hopeful sign), “Ricky Stanicky” has the cheerfully offensive and goofy offbeat flavor of 1990s Farrelly Brothers comedies such as “Dumb and Dumber,” “Kingpin” and “There’s Something About Mary,” only with most of the laughs and much of the charm MIA.