Pugh, a sensational actress, keeps our interest as she grows increasingly suspicious and sees disturbing visions in mirrors and on windows. She brings class and gravitas to a movie that would otherwise be kinda trashy.

Fraser, so good, takes what could be a joke, a flat tragedy, or even a lecture about weight and imbues it with gorgeous humanity.

There’s nothing wrong with some silver screen sorrow, but not when it amounts to indecisive mush.

It’s gripping, visually mesmeric, boasts an exceptional, grounded script by Tony Kushner and is acted to the hilt.

Banshees, reuniting Brendan Gleeson and Colin Farrell from “In Bruges,” is a scream from start to finish-erin.

Zeller’s latest mental health movie is an exhaustingly tedious experience in which you check your watch several times a minute while taking breaks from giggling at the clumsy dialogue.

Dunham has made a really attractive and cohesive film, merging her modern, punky sensibilities with the dirt-and-stone drear of the time period.

Lathan, who has had a long and fruitful career as an actress in TV shows like “The Affair,” does well in her first go as a director. She has just enough visual flair so as to not overwhelm the rich characters and vibrant place.

Johnson still does whodunits better than Kenneth Branagh’s horrid Agatha Christie adaptations he keeps torturing audiences with. Yet despite the giggles and the beefier budget — explosions, an exotic locale, massive sets — “Glass Onion” comes off slight.

I can’t speak to Bethan Roberts’ 2012 novel the film is based on, but the story’s climactic reveal is one of the most predictable in ages. It gets the award for Biggest Duh!

What a refreshing break from what usually constitutes an epic nowadays — mixing Ant-Man and the Hulk.

What Yankovic and director and co-writer Eric Appel have done, brilliantly in spots, is parody Yankovic’s own life while sending up the whole biopic genre. In a messed-up way, the maneuver is kinda poetic. And so very funny.

After some early thrills, director Baltasar Kormákur’s movie ceases to excite because the creature has no more surprises left. He just jumps through the window — again.

Lucky “Day Shift” has an Oscar winner in Foxx, who’s appealingly heroic, and gags about a burning sensation on characters’ privates.

Reijn’s film, which was written by Sarah DeLappe and Kristen Roupenian, succeeds in making a young basement horror movie for today. And, as least year’s “Scream” reboot showed us, it’s a genre that’s been stuck for far too long in 1996.

Bullet Train is a fun flick, to be sure, reminiscent of director Guy Ritchie’s better crime comedies such as “The Gentlemen” with Hugh Grant. But, as the title suggests, it’s louder and faster. And, a warning to the squeamish, there’s a swimming pool’s worth of blood.

Novak’s forever-skill as an actor is likability, and that approachable magnetism is on display here. What doesn’t work in this otherwise naturalistic movie are the punchlines he’s written for himself. Too planned and stilted, not terribly funny. The huge size of all the actors’ humor never matches the intimate way the film has been shot.

In attempting to dramatize their harrowing story in the film Thirteen Lives...the director doesn’t make quick, from-the-gut decisions the way that the intrepid team did. Instead, he takes a chill ride on the Lazy River.

You simply cannot believe you’re staring at megastars — so sapped of individuality and charisma they are. My barista could have been cast as the lead of this action-thriller, and the film would be absolutely no different.

The movie is a bit long, and the culmination overstays its welcome. That is the only section of the movie where the viewer is a step ahead — and therefore it doesn’t sizzle like what came before. Yet the visual splendor of the sequence also proves the director has a flair for the epic we didn’t know about before. And that makes me all the more excited for the next “Untitled Jordan Peele Project.

Providing a hint of redemption is Edgar-Jones, a naturally vulnerable actress who can turn the shallowest of material into something deep. We like Kya and are with her every step of the way, even though at over two hours there about 50 steps too many.

Love and Thunder is an urgent reminder that in order for the MCU to keep going, in an entertaining, soulful way, creativity and innovation is required. You can’t just say “multiverse” 1,000 times and call it a movie.

While a tad too light, as these films often are, nobody is making animated characters as funny or likable (or marketable) as the Minions.

A movie that runs on jet fuel and confetti, Elvis is a tribute to Presley’s innovative spirit, deep passion for fusing blues, country and gospel music and the intense connection he had with his audience

Dismiss “Cha Cha” as yet another heartwarming comedy at your peril because every single person in it has layers upon layers of complexity.

The movie is one of the better pieces of family entertainment released so far this year.

Nobody is good in this thing. You’d think it would be nostalgic to see Dern, Neill and Jeff Goldblum together again, but they all act like old fogies, and they’re written to sound like morons.

At Crimes, you gag a lot more than you giggle.