The best thing you can say about this “Moment” is that, at a breezy 92 minutes, it’s a brief one.

In the Taken movies, the hilarity of mild-mannered Neeson going on a family vacation with hand grenades in his suitcase was never acknowledged, but it was there and part of the fun. Here, the comedy is closer to the surface, thanks to the wit of Kolstad’s screenplay and of Ilya Naishuller’s direction.

Tom O’Connor’s script hits all the right notes, and Dominic Cooke’s direction brings out unspoken subtleties of the characters and their interactions.

Zack Snyder’s Justice League may not be a great film, but it has the madness, strangeness and obsessiveness of a real work of art.

As a piece of filmmaking, the trick of Operation Varsity Blues is that it provides first-rate entertainment even as it incites sputtering rage.

Other documentaries have made this point in grander, more artistic ways, but there is value in seeing this raw footage that accompanies an adolescence spent in front of the camera.

Come True should be an exhilarating discovery for anyone it doesn’t put to sleep. But even if you do find yourself nodding off a little during this deliberately paced, low-humming, sci-fi horror movie, that means it’s working, too.

It would be nice if there were more movies like this, but few have the talent to make them this well — to take a human scale story and make it feel, not bigger than life, but as grand-scale as life actually is.

By the end, “Coming 2 America” has us. It’s strange, these movies that create a warm feeling. It’s hard to say why or how. But when Murphy sits on the throne watching a bad lounge singer (also played by Murphy) perform “We Are Family,” it feels like the summation of the three decades of virtuosic silliness that Murphy has brought to the screen, and of all that has meant to us.

The Truffle Hunters takes us to a part of the world where time appears to have stood still.

My Salinger Year, which is basically The Devil Wears Prada set in the literary world, is a film that feels like it’s ready to take off at any moment, but stalls every time it tries to do anything.

It’s nothing groundbreaking, just good-humored bloody action directed at a frenetic pace, clocking in at about an hour and a half. Sometimes you need a little bit of fun, and Boss Level delivers.

Boogie has some hops. But its all-around game could use a little work.

Aside from being annoying, depressing and repulsive, Chaos Walking has a lot going for it. It’s directed by Doug Liman (“Go”) and takes place in a fully imagined other world. Plus, it stars Tom Holland and Daisy Ridley, who are smart and watchable, and the movie does get better as it goes along.

Sure to be an instant animated classic as it expertly balances emotion, humor and social politics amid a backdrop of surreal, eye-popping visual beauty.

The film simply wouldn’t be much, however, without Cooke’s quick-witted performance. She’s formidable and disarming at the same time, all the time. The character’s always got a line and, usually, a good move for any situation.

Sponge on the Run is very much a members-only affair. Then again, three movies and several hundred TV episodes into a 22-year-old franchise, it’s not unreasonable to think the audience for this adventure is pretty well baked into the cake.

The new documentary, Biggie: I Got a Story to Tell was made in the spirit of the earlier work and the younger man, the hungry hustler hanging out on Brooklyn street corners with his friends.

A movie that seems to have been made by people who don’t understand the history, true nature or appeal of their iconic characters.

There are so many rich, colorful scenes that it’s a worthy watch just as an ethnographic record of our planet in a moment of time.

Setting political movies in the past is an easy, usually safe way to signal virtue. But with its eerie resonances of 2021 reports from Moscow to Washington, D.C., this monochrome aesthetic object looks like something that draws real blood.

Using movie clips, animation and news footage, Ascher creates his own alternate universe in A Glitch in the Matrix and explores phenomena such as the Mandela Effect, a real-life wonder in which masses of unconnected people claim to “remember” something that is simply not true.

This day-after-tomorrow fantasy, made before anybody had even heard of COVID-19, is touchingly romantic and emotionally credible. It’s an escape that resembles our current locked-down lives, with feelings as relatable as they are fictionally heightened.

The first feature by Rose Glass, Saint Maud delivers shocks with confidence.

Wright is perfect, and Edee is an interesting character for her to play, but it’s fair to say that when Bichir first appears he livens up the film considerably. They work well together, and there is an economy of words between the characters that tests both actors’ ability to communicate visually.

It is not just about the American dream; it is a search for America’s soul.

Despite the terrific set design in The World to Come, the characters don’t feel at home in it; they do very little farm work, for example. Still, Waterston and Kirby do achieve an intimacy that operates as a warm fire warding off the chilliness around them. It’s too bad we were left out in the cold.

To their credit, To All the Boys films haven’t shied away from serious topics. They’ve been good at teasing out the way teen drama can actually harm young adults (cyberbullying, social anxiety). The films have also engaged with trauma, as the death of Lara Jean’s mother — who represents the sisters’ connection to their Korean heritage — is always part of the films’ focus. But earlier films began and ended in high school, with a smaller scope for character growth, and Always and Forever really wants us to look forward.