Director Andy Fickman (“Paul Blart: Mall Cop 2”) favors poop jokes and the cringe-humor of watching little kids court danger with a nail gun, kerosene, an ax and sometimes literally fire.

The complex plot takes some time to get used to, especially if you’ve come to the theater expecting a story consistent with the simplicity of “The Shining.” If that was easy as pie, this is easy as Pi. But when it confidently hits its stride near the middle, Doctor Sleep is gripping.

It’s a shame that George Michael’s final major artistic contribution to the world is the crummy movie Last Christmas. In its shoddy attempt to make a splash in the British romantic-comedy genre, it amounts to nothing more than a careless whisper.

You’ll never look at Shia LaBeouf the same way after seeing Honey Boy, the affecting movie that’s inspired by his own life. If you run into him on the street, you’ll want to give the poor guy a hug.

Don’t let its sweet title fool you: Director Noah Baumbach’s latest may just be the best war movie of the year.

There is a limit to the redemption Nicolas Cage can grant a terrible movie, and Primal is it.

Though deeply well-intentioned, director Kasi Lemmons’ film never really breaks free of conventional biopic mode.

Norton does a humanizing job of explaining Lionel’s unusual brain (he’s got a near-perfect memory) and defusing his outbursts with self-deprecation and humor.

Gore and supernatural comeuppances ensue in a haunted-house flick that mostly eschews jump scares for more satisfying psychological and erotic twists.

Skarsgård is dangerous as ever here, but writer-director Dan Krauss’ drama offers very little insight into the minds of these men, and we’re left with no satisfying takeaway. It’s just one upsetting scene after another.

As blissfully simple as James Cameron’s original “Terminator” framework was, “Dark Fate” has a tendency to toss in unnecessary confusions.

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.”