You will get enough laughs out of "The Gold Rush" to make the picture worth while. [14 Sep 1925, p.17]

Fargeat delivers a macabre, funny, tragic, absurd and grotesque Grand Guignol of butts and guts; a bonkers and brutal “beauty horror” that elevates the genre to a hysterically unprecedented heights.

The geography and some of the coincidences are as baffling as the messaging. The 96-minute runtime feels cyclical and endless.

Anchored by its leads, Coup! is a tasty morsel of social commentary about problems that continue to plague our world.

With its nonsensical, confounding story, it might not be for anyone, even if its heart is in the right place.

If you’re a dog person, it will be impossible to resist the tale of Arthur and his knights of extreme sports.

Freelance is this incredibly goofy jumble of tones, a movie that doesn’t know what it is or what it wants to be, flailing about as it far overstays its welcome.

Reaching for meaning in The Nun II is as fruitful as a wander down a dark and dusty old hall. You’ll find things that go bump in the night but not much else underneath all the doom and gloom.

The script is standard sports movie fare without much subtext — in the mouth of anyone other than Harbour, some of these motivational lines would be real clangers, but he sells the material with his rugged soulfulness, and there’s true chemistry between him and Madekwe, as the unlikely sports star and his demanding coach.

It all makes for an appealing blend of flavors and influences, and despite its minor flaws, “Blue Beetle” combines family, history and culture with an upbeat tone to introduce a character who offers an exciting new direction for DC.

It’s an odd viewing experience, to have the second half of a movie not necessarily redeem the bland first half but rather find its sea legs, leaning into the slippery silliness of a summer shark flick. With a blue drink in hand and movie theater air conditioning blasting like salty sea air, there are worse ways to spend an August afternoon.

The intersex movement is about living fully without fear, shame or trauma, to live life on one’s own terms, and the brightness and vigor that Cohen applies to the tone follows the energy of the activists themselves.

There simply aren’t enough female dirtbags in cinema, so Lawrence’s Maddie Barker — Uber driver, surly bartender and pissed-off Montauk townie — is a refreshing character.

Hilariously daring, deeply moving and stereotype-busting in equal measure, Joy Ride is also the raunchiest movie to make you shed a tear.

Anderson hasn’t just delivered his best film in years — he’s also managed to capture the zeitgeist in his own unique way.

A breathlessly beautiful achievement not just in animation but also comic book movie storytelling, Spider-Man: Across the Spider-Verse is willing to shred the lore from top to bottom and weave it back together again in new, surprising and wildly entertaining ways. It’s simply spectacular.

Gunn exhorts the audience to embrace the quirky, the messy, the flawed, to strive for connection, not precision in this world and beyond. It’s a resonant message at the center of all the din.

One can’t help but feel that the man himself — grill and all — is so much more fascinating than this rote representation.

The comedy waffles between nonsensically heightened and realistically grounded, often alternating between the two modes at random, never landing on a tone.

The jump-scares in the fun, funny thrill ride that is “M3GAN” elicit more giggles than groans, but there are also intriguing connections being made on “M3GAN’s” motherboard, behind the glossy surface.

Using a variety of filmmaking techniques, Chukwu asks us to look at Deadwyler’s performance as Mamie in many different ways — to study her grief, her herculean poise, the polarity between her power and vulnerability — and to truly understand and feel the enormity of what she accomplished.

While the film does feel cobbled together out of spare parts of other superhero movies, and it’s almost instantly forgettable, Collet-Serra manages to hold it all together out of sheer force of will and an inherent sense of style. If there’s any superhero to write about with Black Adam, it’s him, and it’s a good thing to see he still has some lightning coming out of his fingers.

Pasek and Paul’s songs end up having to do much of the emotional heavy lifting, and the rest of the film feels cobbled together from random parts scavenged from other kids’ movies and pop culture ephemera.

Cregger slowly builds bone-chilling and suspenseful sequences up to screechingly operatic moments of face-melting horror, and then swiftly cuts to a different chapter, making a hard left into a completely different mode, taking us all on the roller-coaster ride. His facility with comedy also aids in these jarring tone switches, and Barbarian is as funny as it is terrifying.

In its uncompromising vision, it may not be for everyone, but it’s definitely the movie that Batman needed.

Though the situation is far from realistic, the dynamically directed and swiftly paced Marry Me remains emotionally grounded, which is crucial to the execution.

House of Gucci is Gaga’s movie, and she won’t let you forget it. She delivers a bravura performance as Patrizia, an alchemical blend of sheer charisma, power of personality, undeniable magnetism, and most importantly, commitment to the bit.

Wrath of Man feels like a homecoming for director and star, and an evolution, too. With Statham in the lead, playing one of his classically taciturn and tactically lethal action heroes, Ritchie is as restrained and controlled as he’s been in years.