Still: A Michael J. Fox Movie is irresistible. While his Alex P. Keaton of “Family Ties” and Marty McFly of “Back to the Future” are beloved characters, the actor who gave them life is much more interesting and real.

BlackBerry was ultimately left behind — in the cemetery plot next to Myspace. Still, if you ever had a BlackBerry, there’s something not only entertaining but nostalgic in watching this movie.

Book Club was, at best, a pleasant diversion. But Book Club: The Next Chapter is something more. It’s a movie that proves that it’s possible to make an entertaining, full-length picture with practically no story.

Indian director Shekhar Kapur, who returns to film after more than a decade, is known for “Bandit Queen” (1994) and “Elizabeth” (1998), so this may be considered among the acclaimed director’s lighter films. But the Academy Award-winner’s skillful steering of characters allows the movie to showcase a diverse milieu rather than become a narrow East versus West portrayal.

Guardians of the Galaxy Vol. 3 is overstuffed and a tad too long. But it’s also a humorous, heartfelt farewell by Gunn to his band of misfits. While the film takes pain to emphasize that the Guardians will go on, whatever comes next will certainly be different without him.

Lowery doesn’t stray too far outside the lines — this is still a Disney movie based on a beloved family property — but he also doesn’t shy away from mining a familiar tale for meta commentary. Far from deconstruction, it’s heartfelt and introspective.

In her feature debut, Manzoor does something truly bizarre here, and not in a good way. She gets a whole audience rooting for love to triumph but then tries to make a lovable heroine out of the irrational, malevolent character who wants to undermine everything the audience is looking forward to.

Beautifully acted and suffused with warmth and humor, Are You There God? It’s Me Margaret is a film worthy of the long wait in bringing Judy Blume’s classic 1970 children’s book to the screen.

Funny, heart-tugging, intermittently awesome and a loving if ambivalent homage to the heyday of martial arts cinema, writer-director Larry Yang’s film may not blend tones as seamlessly as Chan’s best work from the 1980s and ’90s did. But “Ride On” is moving and thrilling enough to be a worthy capper to the Chan canon.

You’ll see lots of movies in 2023, and you’ll forget most of them. But Carmen is so sincerely passionate and peculiar that you’re bound to remember it.

Ghosted is repellent without ever quite being obnoxious and worthless without ever being boring.

Blume’s insistence on first-person realness, on the page and in life, centers this thoroughly delightful documentary from directors Davina Pardo and Leah Wolchok, who met at Stanford University. But don’t expect the same degree of exploration Blume brought to her own protagonists.

A structure might have inhibited Aster’s impulse for meaningless excess. Instead, we get a movie that’s all talent and no discipline, which, in practice, is even worse than a movie that’s all discipline and no talent. At least the latter tries to please the audience; the former just pleases the filmmaker.

It exists within a franchise but doesn’t add anything to it, ultimately feeling as hollow as the reanimated corpses it centers on.

What Ritchie is able to convey is the terrifying nature of this kind of small-scale combat, with the enemy coming out from nowhere and from every direction. Even if you’ve never experienced anything like this, there’s something about what Ritchie does here that feels authentic.

This sometimes clever, outrageously gory and slickly violent horror comedy is more “John Wick” than Tod Browning, and that’s just the tip of its tonal confusion.

Mafia Mamma is a one-joke movie, but it finds ways to keep that one joke funny for 100 minutes.

The movie is about a sculptor, played by Michelle Williams, in the days leading up to a gallery show. That’s all it’s about, and yet it’s enough. The pleasure of Showing Up is in being dropped into this woman’s life and, more profoundly, into her consciousness.

The film follows its own winding path and covers a lot of emotional ground in 96 minutes, with Michaela Watkins lovely in a key role as Carl’s former lover and colleague. Some movies are more than just a story, they’re a world — and Paint is a world worth visiting.

These people seem real, even if their primary motivations are ideological. Perhaps more than they intended to, Goldhaber and the actors make the political personal. That’s a triumph of craft over appetites for destruction.

Occasionally amusing but rarely engaging, it leaves one feeling like they’re standing to the side and watching someone else play a video game.

Air might not quite be in the class of “Gone Baby Gone” or “The Town,” but it’s old-fashioned in the best sense: solid, confident, simple, straightforward and entirely entertaining. It’s the work of an intelligent classicist.

Rye Lane keeps winning you over by being a satiric-yet-sincere love letter to creative expression as much as to love itself.

As a movie, Spinning Gold is a clumsy effort with a lot wrong with it, except for the real-life story, which never stops being interesting.

First-time feature director A.V. Rockwell, working from her own script, tells an epic tale in miniature.

Tetris holds an audience’s attention until the finish, without ever quite commanding it. To some degree, Noah Pink’s screenplay deserves credit for taking an arcane business story and rendering it entertaining. But the story gets so extreme and unlikely in the movie’s last half hour that it becomes easy to separate fact from fiction.

There’s no question that John Wick: Chapter 4 is really good for what it is. The only bad thing is what it is.

Dungeons & Dragons: Honor Among Thieves feels like Daley and Goldstein, who also co-wrote with Michael Gilio, asked ChatGPT, the artificial intelligence chatbot developed by OpenAI: “Write a Marvel movie except with ‘Dungeons & Dragons’ characters.” Seconds later, this spit out.