In September of 1946, two months after Mother Cabrini was canonized, more than 100,000 gathered at Soldier Field for a Holy Hour celebration. “Cabrini” the film is a fine reminder of why she was so revered by so many.

Thanks to Villeneuve’s masterful direction, the aforementioned brilliant technical elements and a star-studded cast of actors who pour themselves into the material — you can practically see them shaking the sand out of their boots after a long day’s filming — “Dune Part 2” makes for a wondrous viewing experience.

Spaceman is a wonderfully weird journey that ends on just the right and quite satisfying notes.

Even if you don’t know the true story behind the heartwarming and uplifting “Ordinary Angels,” I can’t think of a single plot development that will surprise you and sometimes that’s OK. Sometimes it’s enough to sit back and settle in for a Comfort Viewing Movie that reminds us that even in these dark and stressful times, there are a lot of true and decent people out there who are capable of doing miraculous things.

In many ways this feels like an update on the exploitation movies of the 1970s and '80s that played on drive-in theater screens before eventually making their way to VHS and late-night TV cult viewings. It’s Sharp Cheddar Cheese on Wry (sorry) and it’s a cool and breezy 84 minutes of fun.

Dripping in fantasy sequences and popping with vibrantly rendered set pieces, this is a monumental ego trip as well as an admirably candid therapy session, and there’s even some amusing, self-deprecating stuff as well.

Everything about it seems flat and artificial and contrived, from the limp dialogue to the annoying special effects to some surprisingly uninspired performances, given the talent level of the cast.

Given the revolutionary nature of Marley’s music and the often-chaotic state of his life, it’s reasonable that some might find this to be a disappointingly formulaic handling of the material, with only a few stylistic flourishes that take place mostly in the flashback sequences. Still, this is strong work, showcasing the indelible legacy of an artist who was gone far too soon.

Writer-director Michael Lukk Litwak’s clever and sweet and funny Molli and Max in the Future comes down to this: It’s “When Harry Met Sally …” in outer space.

We’ll leave it at that, with kudos to director Hobkinson for taking a no-frills approach to material that is wild enough as is, and praise for the investigators who painstakingly pieced together a truly fractured puzzle and eventually delivered justice.

Lisa Frankenstein has some surface similarities to films such as “Weird Science” and “Edward Scissorhands,” but the gross-out gags involving Zombie Boy are more disgusting than hilarious and the scares are few and far between. Turns out Lisa Frankenstein’s creation might have been more interesting in her imagination than he is as a walking corpse.

Clocking in at a bloated and self-indulgent 2 hours and 19 minutes, filled with VFX sequences so cheesy you wonder if they’re supposed to be tongue-in-cheek, and bogged down by a plot so convoluted you’ll be reaching for the aspirin, “Argylle” is a bright shining pile of mediocrity.

With the cinematography by Bruce Francis Cole capturing the mid-2000s Florida setting and the score from Este Haim and Christopher Stracey helping to set the right mood, “Suncoast” eschews heavy-handed messaging about whether one is really and truly alive when one cannot survive on their own in favor of a quietly moving, occasionally surprising and ultimately lovely and thought-provoking work.

Directed by Bao Nguyen, who expertly combines the multi-camera recordings from the night of the session with new interviews with Richie, Cyndi Lauper, Kenny Loggins, Huey Lewis, Smokey Robinson and Bruce Springsteen, as well as technicians who were there, “The Greatest Night in Pop” is a terrific behind-the-scenes chronicle of the making of a single that sold 20 million copies worldwide, won multiple Grammys and, most important, of course, raised more than $60 million in 1985 dollars.

The putatively provocative and wannabe-controversial erotic thriller “Miller’s Girl” is a sordid little tale that isn’t nearly as clever and literary as it tries to be, nor is it as deliberately campy as 20th century entries in the genre such as “Wild Things” or even “Poison Ivy.”

The filmmakers (working from a script by Kaluuya and Joe Murtagh) deftly blend some stunning action sequences with moments of quiet beauty, as when a large contingent from The Kitchen gathers at Life After Life for a memorial service for one of their own.

The cast is uniformly excellent, with Ariana DeBose leading the way. For a relatively small-budget film, the visuals and sets are better than good. Ultimately, though, “I.S.S.” runs out of big ideas and sputters across the finish line.

One of the most thought-provoking movies in recent years — the kind of film you’ll find impossible to forget, the kind of film you’ll want to discuss and debate with friends and colleagues.

This is a classic example of a well-made, big-budget action movie that is less than the sum of its parts.

What it does, and does so effectively, is remind us that the orchestrators of this genocide weren’t one-dimensional, psychopathic creatures out of a horror film; they were something far more terrifying. They were people.

Part psychological thriller, part moody thought piece, part romance, “All of Us Strangers” feels like a feature-length update of a classic “Twilight Zone” episode, and we mean that as a high compliment.

Unfortunately, “He Went That Way” never finds a steady tone, veers off into some bizarre subplots and features two surprisingly underwhelming performances from the talented lead duo.

This is a film in which characters make questionable and sometimes troubling choices right up until the final scene, and yet we understand why they do the things they do, and we root fiercely for things to work between them.

Levy now takes his quadruple-threat skill set to feature-length film by directing, writing, producing and starring in the warm and lovely albeit formulaic weeper “Good Grief,” which is not the story of the adult Charlie Brown (rats!) but the tale of a man who turns to his best friends for solace in his time of great need.

It’s a blazingly vibrant, emotionally resonant and exhilarating movie musical that does justice to Alice Walker’s iconic 1982 novel and the subsequent stage and movie versions while forging new creative paths and standing on its own as a bold and original work.

It’s not that “The Boys in the Boat” doesn’t have an inspirational impact; it’s that we’re so aware of being pushed in that direction.

A depressingly uninspired superhero adventure sequel that leans heavily on plot points and battle sequences we’ve seen in at least a dozen other films in the genre — and almost always done better.

It leans HARD into the romantic comedy tropes, to the point that you might find yourself giving into the silliness and the over-the-top embracing of so many clichés. It’s like you’re getting bombarded with rom-com snowballs for the entire movie.