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.

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.

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.

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.

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?

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.

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.

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

Ultimately, Ford hedges his bets with How to Make a Killing, and lands in an unsatisfying no man’s land.

Crime 101 overstays its welcome and is rife with bland story filler, but there’s no denying that it is handsomely made and rarely boring, offering the nominal pleasures of a good-looking serious adult crime drama, which is all too rare these days.

The edgy and explicit Pillion might be set within the parameters of a relationship that many would consider “alternative,” but the heart of it is the same as any love story that becomes a lesson in self-love.

Park’s mastery of tone reflects his mastery of cinematic craft, which has only become more surgically refined in the past few years.

The film is shockingly violent and bloody, but there are also profoundly poetic moments and images that pop up like wildflowers in a field.

Other scenes work better, like a joyous birthday party, and a school concert, and there’s an affability layered throughout Is This Thing On? that makes it more of a hangout movie about a tepid midlife crisis than forward-moving drama.

There’s an important lesson at the center of Song Sung Blue, about abandoning self-consciousness in a relentless pursuit of a dream. Despite the obstacles, their age, the setbacks, there is a pot of gold, not at the end of the rainbow but within it, in their shared dream.

Marty Supreme is a truly staggering American epic about finally learning that hustle is never going to love you back — even if chasing it can be a thrill, at least for a moment. In this anxiety-riddled portrait of the corrosive nature of American capitalism, sports is merely the vessel, but it’s still the kind of movie that will make you want to stand up and cheer.

Feig stylishly waltzes us through this steamy, twisty mystery with ease, but not necessarily sophistication — this is the kind of frothy entertainment that you can still enjoyably comprehend after a glass or two, which in fact might enhance the experience.