All four of the actors playing the brothers are standouts, with Zac Efron and Jeremy Allen White leading the way with some of the finest work of their respective careers. “The Iron Claw” isn’t an easy watch, but it’s one of the best films of the year.

In writer-director Cord Jefferson’s timely and sharp and subversively funny “American Fiction,” Wright is accorded the relatively rare opportunity to take the lead, and he delivers a richly layered performance that reminds us he’s one of the best actors of his generation. It’s a joy to watch.

The Family Plan exists in a world that defies all logic and reality. Granted, this is an over-the-top comedy, and yes, there are a few dark laughs, but this is basically a live-action cartoon with a deadly premise.

There’s always room for wholly original and unique stories, as evidenced by the one-two summer punch of “Barbie” and “Oppenheimer.” In that latter category, we can now add Yorgos Lanthimos’ beautifully garish, wonderfully twisted, unabashedly raunchy and at times grotesquely striking Poor Things, and while it might sound clichéd to say you’ve never seen anything like it, trust me: You’ve never seen anything like it.

Despite the best efforts of the talented director/co-writer Paul King (who gifted us with the “Paddington” movies) and the wonderful ensemble cast, Wonka is like one of those enticing-looking chocolates with a smooth and silky and delicious coating — but inside, you taste dry coconut instead of caramel or a cherry, what a bummer!

Director Tedesco employs some clever animation to capture certain moments, and also delivers a bounty of memorable moments when various musicians play a familiar drumbeat or guitar riff or piano intro in present day, e.g., Russ Kunkel playing brushes to hit the tom fills on “Fire and Rain.”

Caan is notably frail in appearance, but he gives a forceful, funny, warm and strong performance in one last tough-guy role. Brosnan is a graceful and generous screen partner. Seeing these two veterans effortlessly nailing their scenes is the best thing about this movie.

The only reason I’m not giving Eileen a higher rating is because there are a couple of cheap and manipulative jump scare moments that only serve to take us out of the story and feel frustrated. Other than those hiccups, this is a first-rate period piece thriller with hauntingly memorable performances.

While this period-piece, existential fantasy adventure doesn’t rank with the absolute finest entries in Miyazaki’s iconic canon, it’s still one of the most inventive and creative films, animated or otherwise, of the year.

Over the course of a brisk 86 minutes, the filmmakers do a stellar job of providing context and explaining just how the special came to be.

Renaissance: A Film by Beyoncé is as much a work of art as the monolithic concert production itself. The documentary-concert film brings into detailed view the blood, sweat and tears that went into creating the pop star’s most enigmatic tour to date and, in the process, reveals that even Queen Bey can sometimes grapple with the duties of wearing the crown 27 years into her career.

For the 77-year-old Woo, who has influenced generations of directors with films such as “The Killer,” “Bullet in the Head” and “Face/Off,” this is his first American film since 2003’s “Paycheck,” and it is hardcore evidence Woo regains his signature style and his flair for over-the-top, sometimes poetically brutal action.

Candy Cane Lane is harmless but teeters on the brink of being quite terrible.

Maestro is sure to garner multiple Oscar nominations, and deservedly so.

Leave the World Behind is a bold and tricky endeavor that pays off in just about perfect fashion. You might never think of “Friends” in the same way again.

Writer-director Fennell, who won an Oscar for her screenplay of her film “Promising Young Woman” (2020), once again proves to be a cinematic provocateur capable of creating memorable shock-value moments, though at times the candy-colored, exquisitely staged yet often brutally ugly histrionics are more about the fireworks than substance.

Yes, this film is unapologetically corny and unabashedly self-congratulatory, and while it pales in comparison to many of the classic animated films referenced throughout, the little ones should find it entertaining enough and the parents should be at least mildly amused as well as grateful for a zippy 95-minute running time.

As you’d expect, Ridley Scott’s sweeping, decades-spanning and magnificently filmed epic Napoleon is a stylized and violent interpretation of the life and times of one of the most famous and infamous military commanders and political leaders history has ever known — but it’s also a surprisingly funny indictment of a sniveling brute of a man who is utterly unaware of his shortcomings, so to speak.

This is a shoddy-looking, superficial and cliché-embracing effort that misses the mark at every turn.

With Samy Burch’s razor-sharp script providing some fantastically flourishing dialogue passages, frequent Haynes collaborator Julianne Moore delivering the latest in a long line of magnificently calibrated and memorable performances, and Moore’s fellow Oscar winner Natalie Portman turning in equally layered work, this is an intricately crafted study of people who are experts at putting on facades and all too skilled in the art of deception.

A visually underwhelming saga that tests (and fails) our patience with a whopping 2-hour-and-37-minute running time — and even with all that storytelling room, engages in some whiplash changes of character in the final act that make little sense and feel forced and contrived, as if the filmmakers suddenly remembered they had to draw a connection between this story and subsequent events the audience already knows about.

Writer-director-editor Kristoffer Borgli’s Dream Scenario has one of the most ingenious setups of any movie of the 2020s and, even more remarkably, delivers on that premise for at least three-quarters of the story, before it falls just short of greatness in a final sequence of events that feels just slightly, slightly underwhelming.

With Brooks’ close friend Rob Reiner serving as director and interviewer, the HBO documentary Albert Brooks: Defending My Life serves as a wonderful Greatest Hits retrospective of Brooks’ invaluable contributions to the entertainment world, as well as a brief but insightful look at Brooks’ upbringing, which provides some therapist couch-worthy insights into his motivations and his particular brand of comedy.

The callbacks to “Taxi Driver” and, on a lesser level, “Fight Club” are many in South African writer-director John Trengrove’s well-shot but heavy-handed and depressingly obvious Manodrome, a blunt indictment of toxic masculinity that strikes mere glancing blows and packs a relatively soft punch.

As you’d expect, It’s a Wonderful Knife is filled with blood-spattered twists on holiday movie tropes. Unfortunately, there are few surprises and only a handful of genuine scares, and the film suffers from subpar lighting and occasionally clunky editing. It’s a “Knife” in need of some sharpening.

The Marvels has a kind of 1990s B-movie vibe throughout and is neither as funny nor as engaging and warm as it tries to be, despite the best efforts of the talented director Nia DaCosta (2021’s “Candyman”) and a trio of gifted and enormously likable leads in Brie Larson, Teyonah Parris and Iman Vellani.

For those of us who fell in love with “Rocky” and have stuck with him, it’s pure documentary gold when Sly recalls how the film was shaped.

More often than not, the dialogue turns into quotable speechifying and the overwrought score pounds the points home in decidedly unsubtle fashion, but thanks to the performances of an outstanding ensemble led by Colman Domingo’s electric and moving work in the title role, this is a valuable portrait of a man who hasn’t exactly been forgotten to history but is hardly a household name. (He should be.)