Chadwick Boseman commands every moment of this film, radiating probity and purpose, and it’s only later on that you realize that, with another actor, this wouldn’t have been a sure thing. The Black Panther is a superhero with lots of uncertainty.

Fifty Shades Freed has something extra going for it, in that it depicts something that movies and pop songs and pop culture in general tend to avoid, which is the romance of familiarity.

With The 15:17 to Paris, director Clint Eastwood overwhelms the extraordinary with the mundane, turning the true story of three Americans who helped subdue a gunman aboard a European train into a tedious film.

The film would only be very good were it not for Vega’s performance, which ranks right up there with the five women nominated for best actress this year and, in some cases, surpasses them.

Yes, the two-minute trailers were an atrocious affront. But it turns out the other 91 minutes include thoughtful characters and some clever humor in between the pratfalls.

Although it isn’t a top-flight horror movie — too slow for thrill-chasers, too ridiculously fictionalized for historians — the film serves as a proper 99-minute commercial for that San Jose tourist spot.

The visuals themselves are inconsistent, but never boring. The sidekicks seem considerably less painstakingly rendered than the leads. A few of the merchants have the unnatural look and jerky movements of Pirates of the Caribbean animatronics.

Savagely lyrical, Vazante offers a harsh, impressionistic take on slavery in 19th century Brazil. And though the storytelling leans toward the opaque, the film has a sense of authenticity and power that keep it interesting.

The writing is subtle and refreshingly without sentimentality — sentimentality being a common flaw in Middle Eastern cinema.

The movie’s one and only idea renders itself boring, with still half the movie left for the audience to endure.

This is the world of Maze Runner: The Death Cure, the third installment in the “Maze Runner” trilogy, a kind of destitute man’s impoverished cousin’s answer to the “Divergent” series.

Clocking in at two hours and 20 minutes, it seems intended to have been a crime epic in the vein of Michael Mann’s “Heat,” about two men of talent and spirit who happen to be on opposite sides of the law. And it’s sort of like that, if you can imagine a Michael Mann picture that has been set on fire and dropped from an airplane.

It’s a poorly made film, with rough edits, distracting staging and plot contrivances that can be predicted to the moment.

It is, for what it’s worth, a good documentary, though I imagine its true worth and true nature can only be revealed in time. At the starting gate of 2018, we can have no idea how this film will be perceived in 10 years, and maybe we don’t want to know. Then again, maybe we do.

Buoyed by an appealing lead performance by John Hawkes, Small Town Crime is a smart, sharply written detective story that, though not without humor, plays it straight and tough.

Kalashnikov is also smart enough to keep The Road Movie down to 67 minutes, which is all he needs to create this particular vision of hell. (And, by the way, he does so without showing bloody or mangled bodies.)

It might be enough that 12 Strong makes you feel good that the United States still produces guys like this. Too bad we didn’t get to know about the real guys and their actual story.

Here and there, particularly in flashback, Bening gets a scene or a moment to invest in and shine, but for truly a surprising length of time, Bening plays a woman who is asleep, literally.

Although the director’s multipronged approach may dilute the impact of Intent to Destroy, there’s no denying the film’s value as an introduction to a major piece of history that continues to inspire debate of the most intense kind.

It weds all the winning aspects of the Neeson formula to a ticking-clock plot, full of tense moments and gripping sequences.

The only clear message to emerge here is that Kruger is a world-class talent.

Paul Thomas Anderson is getting there. He is a great director of scenes, not of movies, but in Phantom Thread he has devised a film that hangs in from start to finish, his first since “Boogie Nights.”

Hawkins, Bonneville and voice actor Ben Whishaw — who makes Paddington sound like the Geico gecko minus the attitude — give the film a strong base of kindness.

In the end, it’s left to Shaye to carry the film, and she does so with aplomb. The “Insidious” franchise may be running out of places to go, but Shaye appears to be just getting started.

The Post is on safe ground when it focuses on Streep as Graham — tentative, slightly affected, but growing by the day — and with Graham’s relationship with her gruff, hotshot editor, Ben Bradlee, played by Tom Hanks, against type but winningly. The movie’s challenge is the journalism story, which is not as clear-cut as Watergate and is therefore harder to dramatize.

A moving, quite amazing documentary.

Happy End is the latest from Michael Haneke, an uncompromising filmmaker whose work is sometimes brilliant and sometimes hard to watch, and sometimes both, but not this time. Happy End is just hard to watch.

This makes Hostiles something of a slog, but a movie-literate slog containing some impressive scenes.