As Mister Rogers, Tom Hanks does something very important, besides looking and sounding enough like Fred Rogers that we can accept him in the role. He captures the supreme self-confidence it takes to be that nice and giving.

At its best, and it’s mostly at its best, Frozen II has an air of enchantment.

The fact is that too much time is spent with the British characters in the film, time that could have been spent really getting into Rani’s story. She was fighting for the independence of India, but the filmmakers lost their own colonial battle.

Ultimately, Marriage Story celebrates life and the journeys all of us are on. Noah Baumbach is the writer-director, and to watch such an incisive, deep-feeling script be given life by actors — Adam Driver, Scarlett Johansson and those around them — at the top of their game is to rediscover movies as a powerful medium of personal expression.

Eventually, the imperfect Honey Boy — it could have used more from the older Otis; Hedges is almost wasted — achieves a raw, hard-won honesty.

As a movie, Charlie’s Angels has serious problems, but the new Angels trio is promising and shows there’s life yet in the old formula. There’s something going on here. It’s just not quite there yet.

This is interesting, at least reasonably. But to a large extent, how you perceive the film will have much to do with how you see the story as relating to today’s headlines.

Ultimately, Ford v Ferrari is about art versus commerce, devotion versus cynicism, and inspiration versus deadness. It’s one of the year’s great films, and of all the great films so far, the most accessible.

The back and forth, the listening and reacting between Mirren and McKellen, as each of their characters gauges the other and as we mark the incremental shifts and exchanges of power, is pure pleasure.

Despite the paint-by-numbers nature of its plot construction potentially working against audience engagement, the film moves along briskly, benefiting from strong performances virtually across the board.

Three years ago Tsang made “Soul Mate,” an enchanting tale about female friendship that offered an engrossing look at modern, urban China. Yet, that film isn’t quite adequate preparation for the emotional wallop of Better Days. Don’t think, just close your eyes, and jump in.

A soul-killing sequel that gets its kicks torturing and murdering children and offers little hope or redemption. King has long wanted to commit “Redrum” on the reputation of Kubrick’s film, which he openly despises. Nearly 40 years later, this adaptation of King’s 2013 book “Doctor Sleep” doesn’t so much tarnish Kubrick as embarrass itself.

Most of Last Christmas consists of watching this young woman stumble and fumble through life, and thanks to Clarke’s effortless ability to engage a viewer’s sympathy, that’s almost enough.

From the beginning, Midway has awkward dialogue and an atmosphere that seems a bit too 2019, but for a time, the movie’s high stakes make up for that.

The Irishman is all about the end of something. It is to gangster movies what John Ford’s “The Man Who Shot Liberty Valance” was to westerns. Without a doubt, it’s a masterpiece.

It’s like a Syrian “MASH,” except real.

By the Grace of God begins to spin its wheels, with unnecessary scenes that give color to the events, when we’re more interested in the grand movements.

It becomes somewhat pleasantly watchable because the muddled script and dangling story lines are delivered and explored by truly charismatic actors who can, at least for a while, breathe life into something where none should exist...Even if they’re moping in a corner.

In the end, the great fault of Terminator: Dark Fate is that the filmmakers didn’t trust what they had. They didn’t trust how much audiences enjoy Linda Hamilton and Arnold Schwarzenegger. They didn’t trust their audience’s interest enough to let the movie breathe. They thought Hamilton and Schwarzenegger could be seasonings for a dish of the usual slop.

It’s far from the worst movie ever produced, but it’s a one-of-a-kind disaster, and therefore interesting.

At times, Harriet is a little too romantic — never quite schmaltzy — but it feels like a movie perhaps a bit more than it should. Still, it’s effective and, at times, moving, and it has a major asset in Erivo.

Between “Jexi” a few weeks ago and now this, October has ended up becoming quite a great month for bad movies about scary software.

Waititi adopts a tone that’s wild enough to accommodate all possibilities, so that even while we’re laughing, we’re in a state of anxiety.

The Kill Team serves an essential function by illustrating in agonizing detail not only how easily morality can be subjugated to hate, but how important it is for people of conscience to do the right thing. It’s deeply uncomfortable viewing at times, but it’s no less necessary a story to experience.

Sure, Black and Blue is a minor film, but it’s irresistible.

The Current War is even better than it has to be. Director Alfonso Gomez-Rejon and cinematographer Chung-hoon Chung give the film a swooping elegance, so that shots that start as close-ups gracefully glide into medium shots, and medium shots give way to vistas. The camera is always moving in a way that suggests grace and flow.

Its main virtue is that it provides Murphy with a juicy role.

Pure fun and worth seeing if you want to laugh.