Five is arguably the first new “Toy Story” film to be both watched and understood by the kids of the 1995 original’s millennial audience. That shared experience is very moving all by itself.

That same innate knack for casting a blockbuster spell remains true of 79-year-old Spielberg, who’s recently focused on prestige dramas such as “The Fabelmans” and “West Side Story.” The man has such a great time making films, and his enthusiasm pours out of every shot.

Even if Goldstein’s writing, in corporate parlance, leaves room for improvement, as an actor he’s “Office Romance”’s employee of the month. His honest, rough-around-the-edges TV persona from “Ted Lasso” wipes some of the vaseline off the camera lens. He draws us in with charm and mystery, and is both sensitive and unglamorous.

The zany tone of this appealing action-comedy-fantasy combo is a lot like that of 2023’s very good “Dungeons & Dragons: Honor Among Thieves” in how it goofily distills high nerdery for the masses and has a blast doing so.

This is an undeniably exciting and actually quite sophisticated horror flick, and a fantastic bow for Parsons. There are far, far worse rooms you can walk into at the movie theater than “Backrooms.”

Just when you thought NYC crime thrillers had run out of new ideas, here comes “Tuner,” a refreshingly inventive and captivating thug movie that focuses on compelling and rich characters over chases and shootouts.

The film’s relative modesty comes as something of a relief. Freed from the burden of canonical responsibility, it’s flighty fun; a Western-y space mission that’s commenced and neatly wrapped up inside of two hours.

There is not a second of “Grey” that isn’t totally predictable. You’ve seen every frame before, and done a lot better.

The evidence adds up cleverly and the script doesn’t coast on its status as a nice family movie in order to avoid delivering a satisfying conclusion. It’s meaty, like a roast leg of, well, you know.

No phrase terrifies me more than “for the fans,” because in the movies that tends to mean “awful and incomprehensible.” And so it does for “Mortal Kombat II,” an onscreen bucket of slop that people will give a pass to because losers cheer whenever a character, such as they are, is impaled or sliced in half.

The Devil Wears Prada 2, the sequel to the 2006 comedy that’s not at all about Anna Wintour, is a good time, even if the high-pressure world of Vogue, er, Runway magazine is no longer the epitome of New York luxury and glamour it was back in the aughts.

The Queen biopic “Bohemian Rhapsody” had plenty of issues, but the electricity of the re-creation of the Live Aid concert was not one of them. While “Michael” shares the same producer as the Freddie Mercury flick — and a nearly identical performance from Mike Myers as a jokey music exec — it boasts none of the nostalgic thrills.

Do these stylistic and narrative departures constitute a smart shake-up of the old mummy formula, as Cronin’s movie promises to do? Eh, not really. The director mostly reshapes what a mummy actually is to suit his lackluster whims.

There is nothing to like or admire in this groaner galaxy. The movie has the unconfident, powder-sugar tone of a Disney direct-to-video release, like “The Lion King 1½,” paired with the overeager advertising of an internet pop-up.

The Drama, for all its heat, is not perfect. I wasn’t won over by its climactic series of calamities that fall in rapid succession like dominoes at the end. However, most movies are completely forgotten by the time the credits roll. This one, like it or not, lingers for days. It’ll likely wind up one of the most controversial movies of the year.

During a moment in which movies tend to be either cynically corporate or bleaker than a black hole, “Project Hail Mary” dares to be about that once-great driver of drama: friendship.

Leave her at the altar! She is “The Bride!,” one of the absolute worst movies I have had the displeasure of watching in this job.

Director Daniel Chong’s original movie is terribly funny, and often in an unfamiliar, warped way for the cerebral and mushy studio.

Noooo! Anything but another slapdash horror film with a lazy plot that hinges on artificial intelligence!

Updates are fine for some stories. Not this one, though. Moving the action to a contemporary urban setting is akin to fitting a fairy with cement boots.

This is a sexy, funny, ravishing and dark revision that keeps Heathcliff’s frightening obsessiveness, emotional toxicity and sadism intact while ably contorting the tale into a decadent, modern, yet still distinctly gothic, romance.

Only an actress as caution-to-the-wind as Colman could connect so profoundly with a patio chair. Skarsgard’s sensitivity also helps.

Wladyka keeps the film lively with a sparkler aesthetic and a flair for musical storytelling.

Familiar though it is, the skillfully made movie finds vigor in the been-there-done-that.

Issues millions of people face everyday are addressed cleverly and poignantly, and never without a hint of humor. Wilde isn’t really interested in sentimentality, either, and her movie hits harder for it.

Carousel is one of those tundra, dimly lit living-room movies that snobs defend as closer to “real life.”

In short: Too Many Cooks plus too many minutes.

If you like Charli xcx’s songs and find her to be a unique and uncompromising presence in the often airbrushed world of pop, you’ll appreciate moments of “The Moment.” But that’s it. This is not a fully formed movie. At best, it’s a moderately intriguing pitch.