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.

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.

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.

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 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.

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

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.

In short: Too Many Cooks plus too many minutes.

It’s got something for everybody — toplessness, threesomes, dildos, ball gags, S&M and, of course, art-world satire.

Fiennes is magnificent, and a scene involving him and Iron Maiden’s song “Number of the Beast” will go down as one of the most buzzed-about sequences of 2026. Were it written for a grisly horror movie, Alex Garland’s climax would fit snuggly into a Shakespearean comedy.

This movie’s got as many cliches as Madison’s got cheese curds. But script aside, Jackman and Hudson onstage are effervescent and, speaking as someone who’s never mounted a motorcycle, the songs rock.

Whenever there’s a lull here, a big laugh soon comes along with the force of a boa constrictor that conceals the flaws.

No. 3, with a reported price tag of more than $400 million, is the most visually glorious of the trio, adding fresh and imaginative beings and environments that further flesh out one of the all-time great fantasy locales.

It’s cinematic Mountain Dew. You’ll be wired for the entire 2½ hours.

What’s best and most consistent about “2” is how flippin’ funny it is.

Rental Family is a heartwarming jewel of a movie that is a dazzling showcase of Japan’s urban and natural beauty, instead of the usual depiction of hordes of tourists surrounded by skyscrapers and lit by LEDs.

Darker and grimmer Act 2, though, by a hair, makes a meatier movie because characters aren’t as silly — the first flick was practically a pageant — and they are actually propelling toward a satisfying conclusion.

As for Broadway buffs and lovers of old New York, the witty, hilarious and haunting movie starring a totally transformed Ethan Hawke as musical-theater lyricist Lorenz Hart will have them utterly bewitched.

Really, “Small Player” is a great movie until it abruptly isn’t.