It’s just cheap, it’s bad, and a completely out-of-left-field Pink Floyd reference — one of their employees is named Syd, the other Barrett — doesn’t help. It just feels like part of the general sloppiness.

Just an odd mess of a movie. That you feel anything at all is a tribute to the acting talent of Dinklage and Goggins, who occasionally make us care.

Just Mercy isn’t the best movie that could have been made from its subject, but it’s good enough.

I saw this movie in the middle of the day, having had a great night’s sleep, and I had to slap myself awake a few times.

In Cunningham, the presentation is riveting.

Invisible Life is not an entirely fun watch, and its 139-minute running time is an investment and sometimes feels like it. But it offers something more than the usual experience.

There’s a mystery at the heart of The Song of Names, but it isn’t much of a mystery, and once it’s solved, the movie loses what little interest it has. Though not exactly a Holocaust drama, the film is one in which the Holocaust figures tangentially, but crucially. Yet the movie’s overall effect is strangely inert.

The result is a film that feels like unfinished business. At the end, there’s a compendium of scenes from the previous “Ip Man” films, and it’s a sweetly nostalgic way to go out. If only what had come before it had been more satisfying.

So the most noticeable thing about the first minutes of Greta Gerwig’s new screen adaptation of the Louisa May Alcott classic is that the women in Little Women seem just a little bit snooty here, more like privileged actresses from 2019 than like a Northern family living in genteel poverty during the Civil War.

Feels like a regifting of previous action adventure favorites, lifting elements from the “Mission: Impossible” series, “Skyfall” and, most of all, “The Incredibles.” It’s fast-moving, entertaining, kinda clever and instantly forgettable.

By the time it ends, Mendes has built within the audience an intense desire to see the men’s message successfully delivered, and like a true dramatist, Mendes milks it for every drop of tension. He does not blow his big finish.

I found “Cats” pretty bland, but it has its moments of catnip, and as a holiday movie option that anyone could see, it might be just the ticket.

Uncut Gems remains, from start to finish, a tale told about an idiot, full of sound and fury, signifying nothing. By the time it’s all over, nothing is exactly what you might feel. But Sandler and Fox give it the humanity the Safdies wanted there. The movie needed it and got it from the actors.

Star Wars: The Rise of Skywalker does the most important thing, the one thing it absolutely had to do. It ends well.

There’s nothing wrong with a big, dumb-as-dirt action flick. You’ve made some enjoyable ones over the years — the first “Transformers,” “Bad Boys” — but 6 Underground, a nonstop stunt reel with a few, admittedly impressive displays of your usual visual verve — is just “Fast & Furious” crossed with an old Whitesnake music video, but with fewer functioning brain cells.

Jewell is not just a man, but a type, and his story is a warning, not just about the excesses of power, but about our own reflexive assumptions. Paul Walter Hauser gives us the soul of a man that deserved respect even before he did something heroic, but one that people might never have noticed.

A superb drama about sexual harassment at Fox News.

Quite remarkably, “The Next Level” actually does manage to level up — both in terms of different landscapes and scenarios and surprising new characters (and actors to play them) — ably matching its predecessor for emotional investment while exceeding it in ambition.

Bannon is an intriguing figure, a former liberal who went to Harvard Business School and did a hitch in the Navy. His turn in philosophy is worth exploring. He can undeniably hold attention — American Dharma is not a hard watch.

Even worse, Little Joe is a horror movie that, rather astonishingly, lacks a climax. The ending falls off a cliff. The result is not to make viewers ponder the unresolved and wonder what might happen next, but to question how they’ve spent the past 105 minutes.

If you have any fear of heights, The Aeronauts is one of the most excruciating movie experiences since “The Walk” (2015), which replicated Philippe Petit’s high-wire stunt between the World Trade Center towers in 1974.

The Two Popes is movie nirvana, but anyone watching could appreciate the clash between these opposing dispositions and world views.

It all gets a little unwieldy at times, but Shooting the Mafia is far from boring. We can’t take our eyes off it, just like a photo that’s out of focus, yet somehow remains arresting.

The brilliance of Dark Waters is that it is able to lay out the case against DuPont without getting too wonky.

One of the consistent pleasures of Knives Out is that, while its style evokes an earlier era, the script is very much a witty response to today’s world.

Essentially, this is a two-person picture that falls flat.

But let’s be fair: If this were the first cop movie ever made, we’d be grateful for it. It holds interest. It’s never quite boring. And there are worse things you can do with your time than watch Boseman, Miller and Simmons for an hour and a half. Just know that 21 Bridges is the kind of movie you’ll forget five minutes after seeing it.

Given its many twists, Atlantics is best experienced with as little foreknowledge as possible. Suffice it to say, it’s a fascinating window into a culture that doesn’t get nearly enough focus through the camera lens, and it takes full advantage of the cinematic form to envelop the audience in feelings of unease and uplift that are equally effective and affecting.