The whimsical, unpredictable artistry of “Kajillionaire” turns out to be no con, at all.

At the end, you might be a bit confused by what has really happened, or is yet to. But the journey has been absorbing.

The craft and thick Gothic atmosphere of The Devil all the Time is impressive. The movie has such fine-wrought texture that it holds you in its cold grasp. But it’s also somewhat oppressive.

Antebellum will inspire conversation, just probably not the one the filmmakers anticipated.

Because seeing what happened to Furie and his chill stoner frog dude — spoiler alert, he became a hate symbol of the alt right — will likely make your blood run cold. It sure makes for a chillingly effective internet-era cautionary tale.

I’m Thinking of Ending Things nearly sustains something beautiful and sad that blends consciousness and time.

There is more good than bad in Mulan, and we should be so lucky to get a gorgeous and inspiring war epic that is suitable for children to watch. Mulan might even inspire some kids to dip their toes into all that Asian cinema has to offer, which would be the best possible outcome. But something has to give in this blind fealty to the animated films, because it’s getting in the way of greatness.

Have plenty of tissues nearby when you watch the top-notch Netflix film All Together Now, a teary tale of fellowship.

It’s a sort of spiritual companion to Edgar Wright’s Cornetto trilogy, blending horror and thriller elements with absurdist comedy.

The Personal History of David Copperfield is one of the more lively, colorful and whimsical Victorian costume dramas you’re likely to see. It’s a movie flowing with fresh air, which isn’t something normally said of adaptations of 700-something-page books.

Tenet lacks the elegant mastery of “Dunkirk” or the cosmic soulfulness of “Interstellar,” but it has a darkly grand geometry.

It is a sobering and worthwhile film for its exploration of the subject of police brutality and race and how little has really changed in over a century.

At certain points that strain all credulity, you’re just hoping Crowe will look up and wink, and maybe whisper his famous “Gladiator” line: “Are you not entertained?” Because then we could laugh along with him — as we can with a humorous tweet he recently sent, promoting the film.

While its ideas are often intriguing, the movie feels like high-concept scaffolding that only thinly conceals it hollowness. It’s a Tesla without electricity.

The real story of Ivan is more interesting even if it’s probably too dispiriting and shameful for a Disney movie. At the same time there’s some awkwardness in relating such an animal-rights tale with fart jokes and a celebrity voice ensemble.

In this little microcosm you see not only a portrait of some serious-minded youths, but how their world views, morals and political beliefs have been molded by what’s happening in the country. And it manages to be both hopeful and bleak about our political present and future.

Project Power nicely mixes elements of sci-fi and crime thriller to create a cool trip with a wink, set against a soundtrack that includes 2 Chainz, Nipsey Hussle and Curtis Mayfield.

A solid film with a few good gags and a fair amount of heart.

It’s sluggish at times and too withdrawn for such a vibrant tale. But it stays nevertheless in tune with the spirit of Burnett’s book, and by the time it reaches its late crescendo, this “Secret Garden” blooms nevertheless.

A novel like Coetzee’s invites readers to fill in the blank spaces. On a screen, we tend to crave more specificity. The result, coupled with a too-languorous pace, is a film that’s intermittently engrossing and always interesting, but less potent than it could have been.

King Beyoncé’s new film takes you on a journey of Black art, music, history and fashion as the superstar transports you to Africa to tell the story of a young man in search of his crown, matched to epic songs she created while inspired by “The Lion King.”

The charms of Summerland aren’t in its plot. They’re in the sentiment, which is too good-hearted to be cynical about, and the characters.

What most vividly comes across in The Fight is the never-ending nature of freedom and democracy.

Franco has made a briskly entertaining debut feature, a nice way to spend an escapist summer evening. Not from your Airbnb, though.

With some notable exceptions, this is a traditional treatment of an extraordinary life, complete with deathbed scenes that bookend the film and frequent lines, in Jack Thorne’s screenplay, in which Curie single-mindedly speaks of scientific progress less like a person than a grade-school teaching tool.

The one saving grace is King, a genuinely delightful young actor who manages to hold your attention and empathy even if her underwritten character barely deserves it.

Greyhound is perhaps not so much a thriller as a very spare, economical drama.

Samberg is predictably charming and funny here. But it’s Milioti, who may be best known at this point as “The Mother” from “How I Met Your Mother” or “that girl who was in that one ‘Black Mirror’ episode,” who is the big revelation, finally getting the spotlight which has been a long time coming.