As an exploration of post-traumatic stress disorder in US war veterans, the psychological thriller Jacob’s Ladder was ripe for an update. As a piece of enjoyable ’90s shock schlock, it maybe should have just stayed where it was.

The tone of “Brittany,” and its emotional impact, reminds me of Amazon’s other heartfelt winner, “The Big Sick,” which netted Kumail Nanjiani and Emily V. Gordon an Oscar nod for original screenplay. Colaizzo should get one, too.

Driven is a lot like a DeLorean: Looks great, but moves slow — if it even moves at all.

This is a raunch-com that goes for — and gets — stunned laughs.

Linklater, a director who usually earns his sentiment, just can’t get the tone right. “Bernadette” is supposed to skewer the norms of family, suburban life and motherhood. While Bernadette should be a creature out of Wes Anderson, Blanchett and her director opt for “The Addams Family” instead. Nothing about it works.

This humorless, sadistically violent wreck has not a single satisfying second. It does, however, have more than 50 F-bombs.

Disney, take note: This is how to do a winning live-action update of a cartoon.

Love, Antosha manages to be both a deeply sad farewell and a fascinating introduction.

Luce is a taut, extremely watchable movie, though the dialogue could loosen up a touch.

The Rock is funny and charismatic in “Hobbs & Shaw,” and his bro chemistry with co-star Jason Statham is a joy. The pair slinging vicious insults at each other is almost vaudevillian — it would make a decent live tour. And then there’s the rest of the movie.

This is the kind of movie that gives art-house movies a bad name. Seeing as it’s about lobotomies in the 1950s, it is also ripe for “ice-pick- through-the-eye” jokes about the pain of watching it. But I would never stoop so low.

I think what Tarantino is going for is brazenly manipulating historical events to suit his style, and turning a well-worn genre on its head. But in so doing he’s made an everything bagel of a movie: Part satire, part bear hug, part fictional bromance.

Action flick machismo suffers an identity crisis in Stuber.

Although this version is some 30 minutes longer than its predecessor, anyone looking for new story twists or, say, an inspiring backstory for the antelope that gets eaten, will probably leave disappointed.

It’s one of the year’s sweetest films.

Director and writer Riley Stearns’ mediocre comedy aims to be a roundhouse kick at traditional masculinity, but doesn’t manage to take it down in any deep or insightful way.

Midsommar is no slouch on chills, but they creep up slowly, like a bad trip from one of the Swedes’ festive glasses of hallucinogenic tea, and are leavened with an occasional dash of humor.

The satire’s so meta that its whiny protagonists threaten to eclipse the joke.

You can see director Jon Watts and the filmmakers struggling to replicate the magic of their first film. But its charm came not from an overabundance of jokes, but from turning Spidey into a school hallway hero whose biggest challenge was girls. Jetting off to Venice, Prague and London and busting up landmarks brings it more in line with the rest of the overly dense Marvel Cinematic Universe.

If you’re a Fab Four fan like I am, that setup itself sends you into an existential tizzy. But it makes for a likable, quirky movie that’s British writer Richard Curtis’ (“Bridget Jones’ Diary”) best work in years.

Annabelle Comes Home is so low stakes it’s barely a movie — more like a very special “Brady Bunch” episode in hell.

Tremblay is charming as an eccentric kid marching to his own tune, but the film’s attention wanders like a goat separated from its herd.

This re-imagining of Chucky’s origins manages to be both crazier and more level-headed than the original, in which the doll strolled around Chicago talking like a gangster from “Guys and Dolls.”

The scrappy striver narrative may be an overly familiar one at this point, but director Tom Harper (the BBC’s “War & Peace”) gets a terrific performance from Buckley as Rose chases her dreams while living the kind of turbulent life that has always inspired the best of country songs.

Even with a title this generic, there’s less to Murder Mystery than meets the eye.

Plus One is the latest evidence (see also: “Always Be My Maybe”) that the romantic comedy is making a long-awaited comeback, with some overdue modern tweaks.

Even with a cast this lovable, The Dead Don’t Die falls short of the killer zom-com it could have been.

Does it tug the heartstrings? Absolutely. Is it funny? The funniest of the quartet, in fact thanks to a weird new character. But Pixar, like its former funder Apple, has conditioned audiences to expect more than a nice little movie. We want to be amazed — not subscribe to Apple TV+.