Don’t Die: The Man Who Wants to Live Forever goes a long way toward humanizing the Venmo multimillionaire best known for pumping his teenage son’s blood plasma into his own veins.

Backed by a feral, driving score from Ukrainian folkloric quartet DakhaBrakha, “Porcelain War” makes the case for art as another protective weapon against imperialism. Like Ukraine, the film concludes, the delicate but resilient sculptures may break easily — but are very hard to destroy.

Aided by sumptuous cinematography (Eduard Grau), a haunting score (Alberto Iglesias) and eye-popping production design (Inbal Weinberg) – there’s always a font of interior decorating ideas in an Almodóvar film – Martha’s journey toward the great unknown has everything but a light at the end of the tunnel.

Part of what made the prior two “Sonic the Hedgehog” movies work was their playful, controlled scope that still provided engaging, serious storylines. By contrast, the third and latest installation overwhelms with so many explosions and colorful sky beams that instead of pulling the audience in, it has the opposite effect.

Women’s sports owes a debt to Shields. She finally has a movie that gives her deserved flowers.

If you know the Dracula legend, you know what comes next. “Nosferatu,” which also was remade by Werner Herzog in 1979, is therefore somewhat predictable. But the images and performances are so riveting that it doesn't matter.

Working from a script by Jeff Nathanson, Jenkins, who got his filmmaking start in San Francisco and directed the best picture-winning “Moonlight” (2016), efficiently tells a simple story very well, although his style isn’t that much different from that of Jon Favreau, who directed the first computer-animated film.

Kraven the Hunter will sate fans with Taylor-Johnson’s action bona fides and its fine cast. But those same fans may be less-than enthusiastic about the idea that, with no Spider-Man and no franchise to move forward, this one essentially has nowhere to go.

Tolkien’s fantasy world is always worth revisiting, and that makes “The War of the Rohirrim” worthy of watching even if it ultimately doesn’t amount to much once you look past the obvious visual panache.

Pitt’s all-in performance and an impressive supporting cast supply enough roughhouse wit and Brooklyn grit to hold up scenes that might have otherwise gone down for the count.

Still, as Dylan biopics go, this is probably the best imaginable.

Mary is a fictionalized and heavily dramatized account of the life of the Virgin Mary, but the movie’s great and only pleasure is in watching Anthony Hopkins play King Herod as a homicidal maniac.

Pigossi, star of the Brazilian Netflix series “Invisible City,” neatly avoids wallowing in Lourenço’s misery and instead finds a humanity one can root for. It’s a powerfully emotional performance that lifts all boats in this picturesque drama.

Grading on the Tyler Perry curve, though, “The Six Triple Eight” respects its noteworthy topic — and its audience — as much as it possibly could.

If you’re a millennial, odds are you’ll find “Y2K” amusing. But older and younger age groups will want to stick to their vinyl LPs and Tik Tok videos.

The Order, directed by Justin Kurzel, has less interest in sermonizing about the evergreen cycles of racism in this country than in tracking a series of explosive events as a well-crafted thriller.

September 5 succeeds as a tense and involving film, at least partly because it makes the case that the tragedy, despite all its other consequences and ramifications, marked a signal moment in news broadcasting. It was the first time that a hostage drama played out on live television.

Moana 2 is finally here, ready to assault audiences this holiday season with one of the most ill-conceived sequels in Disney history. It took three directors to sink this movie — Dana Ledoux Miller, Jason Hand and David Derrick Jr. — and it’s so bad it feels like they did it on purpose.

Guadagnino’s filmmaking has never been more vivid.

Maria, despite being occasionally slow, is a weird, good movie.

Despite any weaknesses, the movie still does what Morris does best. It digs deep into the details of how some terrible idea was mismanaged in execution.

Gladiator II coasts: never good, never terrible, always a little disappointing, with speeches that fall flat and gladiator battles that are like watching the World Series when your team isn’t in it.

Fueled by exquisite performances from Tony winner Erivo (“The Color Purple”), as Elphaba, or the Wicked Witch of the West, and Grammy winner Grande as Glinda the Good Witch, “Wicked” is the best movie musical in years, representing a rare instance when performances, visuals and songs are of equally high quality.

Either “Nightbitch” shouldn’t have been made or its premise should have been transformed and built upon.

With “A Real Pain,” Jesse Eisenberg has invented a new genre we can call “the Kieran Culkin movie.”

A mini-masterpiece, with lean filmmaking and lots of surprises.

Standard issue and sluggish as it sometimes is, “Elevation” maintains engagement.

The landscape against which a mother and her son try to find each other is stunningly realized.