This fifth installment might not feel as weighty as some of the other toy stories, but the animation remains beautiful, the humor heartfelt. This group of toys still has some play left in them, and some lessons to impart, so for a moment, tuck those screens away and enjoy another romp with Jessie, Woody and Buzz.

Spielberg and Koepp dive into the spiritual and the existential with this political alien flick, and while the destination isn’t as exciting, the journey itself is deeply moving and brilliantly executed.

Boring? Never. Thrilling and history-making? Indeed. Maras and Haig easily rise to the challenge to make the weather worth watching.

It’s a thrill to watch this kind of original, adult movie that are all too rare these days, and Roher hits all the right notes with this move into narrative filmmaking.

Conceptually, and in execution, “Power Ballad” is so light, it feels like it might blow away with a puff of wind. The beat goes on, but this one just doesn’t have the staying power of Carney’s other hits.

For such heavy political themes and rallying cries to action, Riley makes it wildly entertaining, with eye-popping visuals, and a circus-inspired score by Tune-Yards. What’s most important is that among all the mishaps and misadventures, his message never loses its clarity: Liberation is for everyone, and, most importantly, it should be fun.

Grogu’s cuteness may be a powerful force, but it’s not enough to sustain this big-screen leap, especially in a blockbuster this bloated, and frankly, dull. If it feels like a serial, maybe it should have stayed a series.

Equally enchanting and disturbing in its unique blend of magical and social realism, “Is God Is” is a highly stylish and daring announcement of a new cinematic talent in Harris, who has been allowed to fully express her vision, uncompromising and entirely hers.

The story isn’t complicated, and it’s one we know well, rendered with spooky, atmospheric aesthetics and intensely gnarly violence that provide cover for the thin premise, nagging plot holes and flimsy characterization in the script, which traffics in poorly explained archetypes. It’s sufficient enough, but the strength of the filmmaking is not in the writing, but in Barker’s command of style, pace and performance.

What you might not expect is how moving this whole story actually is. It’s not just the fun of figuring things out among this cast of colorful characters, rendered with a storybook look, it’s actually a tale about the importance of finding, and tending to, a flock.

The costumes are giving Halloween, the sets and props are giving Xena: Warrior Princess and the story and performances aren’t giving anything at all. Mortal Kombat II seems destined to go the way of the ‘90s sequel Mortal Kombat: Annihilation — directly into obscurity.

Hokum might start in a bleak place, and the entire experience might be profoundly, existentially bone-rattling, but McCarthy’s dark fable argues that opening yourself up to the forces beyond the veil might just shake something loose, and might heal something, opening up a space for hope — or at least a different kind of ending.

Streep once again unnecessarily proves she’s the best in the business with her performance, delivering more in a single quiet line delivery than most actors can achieve.

The music is great. Jaafar Jackson is a star. But the movie itself is uncomfortably problematic in a way that’s hard to overlook.

I Swear is a film that was made with a lot of bravery and heart. It’s an important extension of John’s advocacy, but it’s also deeply moving and very entertaining.

There’s no question about the talent on display. Coel is one of our most hypnotic screen performers, and had Hathaway decided to put her prodigious talents toward pop stardom instead of an Oscar-winning acting career, she’d be one of our top icons. Her Mother Mary performances are so fantastic it leaves you wanting more — of her, but not necessarily this plodding movie.

The song remains the same, but it’s all in the way you play it. Karia, Ahmed and Lesslie prove that "Hamlet" still hits after all these years.

Most importantly, You, Me & Tuscany is sentient. It’s transporting and ridiculous and knows exactly what it is, and therefore, we do too. So go ahead, enjoy a little dolce vita, as a treat.

It is thought-provoking, to be sure, but does he finish the thought, or just provoke it?

Forbidden Fruits can’t reconcile all of its influences and just ends up as a collection of references and high style without much staying power — it’s essentially the fast fashion of girly pop horror.

They Will Kill You is both irreverent, and reverential to its references, and cartoonishly violent in increasingly surreal ways, but it also maintains the emotional core at the center, which is Asia’s blind big sister protectiveness over Maria, powered by the guilt she feels over not being there for her. It’s a simple, but primal character motivation that Beetz sells with a wild-eyed ferocity.

Ready or Not 2: Here I Come feels behind the ball, not ahead of the game, and unfortunately, this is no escapist, or even cathartic, horror romp. Read the news instead if you’d like a real scare.

Executed with incredible craft and style and a whole lot of heart, Project Hail Mary verges on the edge of being too saccharinely sweet. But sci-fi can serve many different purposes for audiences, and maybe that sweetness, combined with a story of cooperation and collaboration for self-preservation, is just the kind of balm we need to take the edge off right now.

It’s not always easy to navigate the tonal landmines of a Colleen Hoover yarn. That Caswill, Monroe and Withers do so with aplomb and emotion proves what these films can be: deeply felt, transporting romances to be taken seriously.

Made up of stylish pastiche, girl power slogans and one go-for-broke performance, The Bride!, like her Monster, isn’t much more than an assemblage of parts, and the slipperiness of time, place and character leaves the film unmoored and unrooted. Here comes The Bride! — unfortunately, she’s brain dead.

The circumstances of the story might be “timely,” but “Dreams” doesn’t help us understand the situation better, leaving us in the dark about what we’re supposed to take away from this story of sex, violence, money and the state. Anything it suggests we already know.

Scream 7 is an unfortunate tarnish on this otherwise sturdy franchise’s legacy.

It’s an exhilarating cinematic experience, whether you’re an Elvis fan or not — but Luhrmann makes sure you are by the end.