The reason Waititi’s films (yes, even “Thor: Ragnarok”) are so resonant is that they’ve always placed love and humanism at the heart of their humor. “Jojo,” despite going to some very dark places for its laughs, is no exception.

By turns funny, sinister, haunting, historically fascinating and mythical, The Lighthouse is one of the best films of the year.

Though the cast is a decade older, Zombieland: Double Tap is no less funny. Thanks to some new additions, it’s even more riotous.

In “Mistress of Evil,” everything is a notch less fun, romantic and engaging.

It’s fine, if not a little too long at two hours — but for “Breaking Bad” fans jonesing for something, anything, connected to the chronological timeframe of their beloved series, it should do the trick.

If you don’t think “All About Eve” was a documentary, you’ve never dated an actor. That classic show-business paranoia is the subtext that drives Gemini Man, an action flick with a twist.

Director-writer Abe Forsythe (“Down Under”) nails a handful of funny juxtapositions, but too often leans into mean-spirited and tired yuks. As far as red flags for lameness go, fat-kid and pooping your pants jokes are, well, dead giveaways.

Not so good is Lily-Rose Depp as French princess Catherine. Say what you will about francophile Johnny Depp — he’s never boring. But his daughter, with her vacant expression, lacks a certain je ne sais quoi.

The voice work and the overly smooth animation mostly stink.

You’re not dreaming. Billy Madison, Mr. Deeds, Happy Gilmore, Robbie Hart and the guy that sang “The Hanukkah Song” is doing the finest work of his career in Uncut Gems, a new crime comedy co-written and directed by Joshua and Benny Safdie. Pigs have flown, for Sandler is brilliant.

This comic biopic is a blast from start to finish.

[A] sublime drama, sprinkled with moments of lightness.

Joker starts grim and gets grimmer, as Arthur embraces his inner demons and finds they resonate with the huddled masses of Gotham.

Portman is always consummately watchable, and she tries her best to telegraph the utter existential confusion engulfing Lucy at work and in love. But the film around her is simply not up to her level.

Scorsese is at the top of his game here. His film is never boring, and it explores some unexpectedly deep themes for mafiosos.

It’s not without its quirks (and occasional pacing issues), but Sister Aimee is a true original — apparently, just like its namesake.

Netflix needs to add a category for its new original film The Laundromat. Right under “Movies you might like” should be “Movies you will loathe.”

It’s never too early to introduce your kids to the magic and emotion of the monster movie.

Moore, by the way, has never been a comic genius. The woman has played Hester Prynne — not the Laugh Factory. Still, she keeps giving the yuks the old college try. Here, the usually easeful actress cranks things up to Ludicrous Speed, and comes off like a drugged-up yogi.

It’s clear why this indie was shelved for so long: It’s a mess.

Rambo: Last Blood features what’s easily the most violent movie scene of the year. It’s awesome.

In reality, it’s a tiresome parade of gory and sexist cliches that are, frankly, insulting to a cast that includes Laurence Fishburne, Barry Pepper, Adam Goldberg, Leslie Bibb and Clifton Collins Jr.

Roy Cohn was way more entertaining than the new documentary about Roy Cohn.

Director James Gray’s style harks back to classic space movies, such as “Alien” and “Star Trek II: The Wrath of Khan,” that played around with the vastness of the stars, and made it seem like there was nowhere lonelier. Ad Astra also has an old-school visual panache, with deep-colored, dramatic lighting that’s regrettably fallen out of fashion.

The Goldfinch should be called “CliffsNotes: The Movie,” because after seeing this pedantic film adaptation, I now know all 3 billion plot points of Donna Tartt’s acclaimed 2013 novel. And, like skimming a colorless cheat sheet, I still have no clue what’s so great about it.

No matter how well you know “Over the Rainbow,” you may never hear it as heartbreakingly performed as Zellweger sings it here.

Julian Fellowes would have been far better off writing another relaxed Christmas special to satisfy fans.

A very fine follow-up to the most successful horror film ever.