80 for Brady would be close to worthless were it not for the prodigious talents and chemistry of its marvelous cast.

Knock at the Cabin, the “Sixth Sense” director’s latest anvil, is less “Old” and more Old Testament. No fun here! Yeah, there’s much more competent filmmaking and acting on display, however it’s all wasted on a strained and ponderous story with stratospheric delusions of grandeur.

A movie needs more than a smart idea and an impressively visualized concept of the future to run smoothly. Two-thirds of the way through, “The Pod Generation’s” battery is already at 1%.

The well-known story beats are also given renewed vitality by the young actors, whom director Christopher Zalla expertly steers away from being typical overemoting movie kids.

This comedy soars squarely on small moments and big jokes.

Director William Oldroyd’s mouthwatering drama, based on Ottessa Moshfegh’s acclaimed novel, misleads and misdirects all the way to the shocker ending.

Even without the laughable new material, the addictive quality of the short story is lost in adaptation from the get-go.

Director Oliver Hermanus has as much restraint as his star (and for a modestly sized movie, impressively manages a visually believable 1950s Britain), and the viewer never feels emotionally manipulated.

I wanna feel the HEAT … but I don’t. On the contrary, the animatronic new Whitney Houston biopic “I Wanna Dance With Somebody” left me shivering from a gust of arctic air as it so clinically and lazily examines the tragic life of the famous singer.

A useful aspect of watching the movie on streaming rather than onstage is you can turn on the subtitles to catch all of Minchin’s clever lyrics. Many of the quirky phrases, coming fast and furious, were muffled on Broadway and the score improved when I listened to the album later.

Yes, it’s your typical Macguffin, with everybody chasing down a trinket, but a fairly creative one with a lot of good jokes. The comic-book-style action sequences also set co-directors Joel Crawford and Januel Mercado’s movie apart from the litter. The No. 1 reason to watch, though, is Banderas’ top-notch voice performance. If only more A-listers treated their animated film roles as more than a pet project.

The movie is a good 40 minutes too long and momentum ceases to build a while before it finally ends. Still, when the director’s party is raging, you’ll wish you had an invite.

Spending more than a decade pining for Pandora was worth it. Cameron has delivered the grandest movie since, well, “Avatar,” and with an over-three-hour runtime that never sags. What better way for struggling cinemas to regain their footing than with a gargantuan film that so celebrates the glory of the big screen?

As he did so ingeniously with “Pan’s Labyrinth” and the Spanish Civil War, del Toro explores fantasy, myth and childhood in a time of oppressive fascism; the specks of light that escape the darkness.

Emancipation, which is an otherwise well-tread period drama about the horrors of slavery, features more of Smith’s rich emotionality and laser-focused intensity that he’s uncovered late in his career and that won him the Oscar for last year’s “King Richard.”

Bones and All is a surprisingly effective and affecting cannibal love story.

A sweet, science-fiction family film with a loud environmentalist message (speaking of “Avatar”) that’s good fun. It’s also nicely self-contained.

One sequence is amusing: a number called “Fairytale Life (After the Spell)” in which panini grills and espresso machines sing along like they live in Pee-wee’s Playhouse. You struggle to care about the rest.

Directed by Maria Schrader, the film that’s part of one of the most reliably galvanizing genres — newspaper reporters doggedly chasing down a tough story — is a disappointing, sleepy metronome with made-for-TV diminutiveness.

If Falling for Christmas simply fleshed out Sierra more, and made us believe she was in love with Jake, not just grinning at everybody, we’d have a movie. Instead, it’s a predictable stunt.

Every aspect — acting, writing, special effects, score — is a notch above its superhero peers. In the best possible sense, you forget you’re watching just another Marvel movie.

Based on Erich Maria Remarque’s 1929 World War I novel, the German film on Netflix is unsparing in its portrayal of the horrors of battle. It’s sensory-overload, tough-though-rewarding viewing.

The supremely talented Florence Pugh has rapidly rebounded from the “Don’t Worry Darling” debacle with The Wonder, a creepy new Netflix drama that’s unusually strong for the streaming service. For once, it’s the characters who endure hardship — not the audience.

Ticket to Paradise would be a better time if it was as campy as its lead actress’ frozen hair.

The Rock arrives with the power of a pebble in the new action movie “Black Adam,” in which the popular star plays the titular anti-hero in his first solo outing. It’s just as thoughtless and rancid as the rest of DC Comics’ crummy catalog.

What I love about Green’s style is he has both a sense of the grand — he gives Michael’s mask the cinematic weight of Moses’ Ten Commandments slabs — and the goofy.

The match of larger-than-life actress to larger-than-life role is perfection.

Amsterdam has every advantage imaginable. Doesn’t matter. It’s the worst movie of the year so far, and I will bow down to whatever comes along and tops it.