While many of the film’s action sequences are in slow motion, it’s the story’s narrative (credited to Snyder, Shay Hatten and Kurt Johnstad) that really crawls.

With any other actor, All of Us Strangers was bound to be an emotional film, but Scott has a way of going down to the nerve endings. He makes the movie into something raw and deep.

American Fiction is not a perfect film. The book trails off at the finish, and though the movie comes up with something better, the end still doesn’t feel ideal. But none of that matters as much as it might, because Wright gives the perfect performance.

As Enzo Ferrari, Driver looks stylish and commanding, but the movie doesn’t figure out how to make him into an interesting man.

The verdict is sad but unavoidable. Poor Things is a 141-minute mistake.

The Boy and the Heron is unquestionably a personal vision, with its own internal logic. It has a direct conduit with the mind of its creator, who happens to be a genius and one of the best to ever do it. If this is it for Miyazaki, well, what a finish.

The main effect this film’s commitment to emotional intelligence has is to show us what has been missing from the franchise all along. That, and to deliver a climax that will bring tears to your eyes — unless you’re some sort of beast.

Clearly, the goal was to make a visually opulent Christmas movie, but these visuals end up sucking up much of the film’s life and spirit. It de-emphasizes the human element, and it makes the movie too long.

The only surprise is that there are no surprises.

There’s nothing here to match the ingenious audacity of, say, the hospital-shootout-with-infant sequence in 1982’s “Hard Boiled,” but once Silent Night finally unwraps its gratuitous gifts, the faithful Woo fans should find them worth the wait.

Eileen builds and builds and builds, and it definitely goes somewhere, but in a way more gimmicky than true — and that leaves us feeling like we were wrong for taking it seriously.

Jackson tells Mack’s life in detailed close-up, and it is as if we are passing the years alongside her.

Luther, who identifies as gay, never explicitly assigns labels to these young characters, which makes perfect sense in a story that openly embraces freedom and tenderness. Here’s hoping for many more films from this sensitive, nuanced talent.

Because “Leave the World Behind” is weak and unconvincing when it comes to character interaction, the film drags in the moment-by-moment, despite its stellar cast.

Maestro exposes a truth about marriage that I always knew but could never quite articulate: To be truly known and understood can actually be scary.

There’s a weepy turn in the sentimental third act, and why not? Nothing else was working.

Saltburn is a remarkable combination of smart and stupid. Its problem is that it’s superficially smart and deeply stupid. It’s clever and amusing in 20 different ways, but when it really matters, it descends into ridiculousness.

The only thing that keeps Wish afloat is DeBose’s voice, who elevates so-so songs such as “At All Costs” and “This Wish” with a powerful lilt.

The problems with Thanksgiving are many, starting with the awful script by Jeff Rendell. Not only is the story — concocted by Roth and Rendell — predictable, but there is not one clever line of dialogue in the whole 107-minute film. The cast and characters are bland.

The Hunger Games: The Ballad of Songbirds & Snakes has an overwrought title, but it’s the best movie of the film franchise.

May December is light and amusing, but also profound and serious. See it once — and then think about it for a long time.

It is full of joy and laughter, as well as tears. It is about many things, among them sisterhood, the difficulties of parenting, processing trauma in a patriarchal society, and religious extremism. But most of all, it’s filled with life, and all the triumphs and pleasure, pain and disappointments that go with it.

Downbeat as it inevitably is, the film...is sure to delight for nostalgic Boomers and music historians, with its unseen footage and insights from survivors who were there.

The film starts off akin to a tongue-in-cheek “Twilight Zone” episode, then becomes a meditation on fame before transforming into a scathing satire of several things at once: Gen Z, cancel culture, and even the people who complain about cancel culture. Written and directed by Norwegian filmmaker Kristoffer Borgli, it’s bleak and funny and provides Cage with his most satisfying role since 1997’s “Face/Off.”

An unforgiving little thriller with a conscience and irony to burn (and boy, do they burn), Your Lucky Day is one of the last chances to see beloved Oakland native Angus Cloud onscreen.

Thankfully, the movie clocks in at a mere 105 minutes. The Marvels doesn’t have much to say, but at least it says it quickly.

This is a rare film and a rare use of cinema. Other documentaries are like filmed news stories. This one is like a poem. If you see this, you will never again think of hearing in quite the same way, and you will hear sounds that are so haunting that they will be with you for the rest of your life.

Stallone, often tortured in his movies, is cinema’s most tortured optimist.