A surprisingly delightful film full of action, heart, a crazy-haired Patrick Stewart (as “old” Merlin) and a few genuinely good gags.

While it might not be a conventional history lesson, it is a necessary and utterly urgent one.

For all the hype behind these three characters meeting, and the years it took to get it off the ground, Glass is one big anti-climax.

Although it might be a stretch to categorize this as a movie, A Dog’s Way Home is harmless enough and a nice little adventure that’s fit for the whole family. But you might want to have the tissues ready.

Few films in memory have squandered so much acting talent in such a cliche-ridden, exploitative and dishonest way.

The filmmakers haven’t gone so far as to put you in the game, too. A lot of it is watching all the characters find keys and have their own revelations, so by the time you get to the fifth room, it’s understandable if interest is starting to wane a bit even with the addition of a link between the six people.

While Destroyer can be overwrought and mechanical, it’s an often gripping, well-crafted crime drama with distinction of its own in the genre, an almost always male-dominated one.

It is simply terrific — an understated but smartly told crowd-pleaser about the legendary comedy duo in their last act, with wonderful production value, a sharp and surprisingly poignant script and brilliant performances from John C. Reilly, as Oliver Hardy, and Steve Coogan, as Stan Laurel.

Brooklyn is a story for anyone who has ever left home. It’s a story for those who’ve waffled in indecision, for those forming their identities and forging their own paths. It’s a story awash in muted pastel nostalgia about family and love and ambition and heritage and goodbyes. And it’s one of the loveliest films to grace cinemas this year.

Jones is truly marvelous in the role, showing Ginsburg’s burning desire to change societal unfairness and also, more intimately, coming to terms with her own daughter’s rebelliousness.

As The Mule ambles toward its conclusion, it draws closer to Stone, and maybe to Eastwood’s legacy, too.

Hopefully it will attract an audience either tired or turned off by the franchise’s past rigidity and addiction to spectacle. This is what we needed: Smaller, quieter, more human and sweeter.

Vice is frenetic and fun, flippant and frustrating.

It’s Pawlikowski second-straight masterwork, only one with a critical if seldom-seen error. His movie is too short.

This is a complex man and artist worthy of a complex story, not a would-be-feel-good farce.

“Moonlight” is a hard act to follow, and while Beale Street might not quite reach the heights of Jenkins’ instant classic of a best picture-winner, it is its own kind of marvel, lovely, transcendent, heartbreaking and as smooth as its jazzy soundtrack.

To both the movie’s benefit and detriment, the seas here are choppier than in the predictably (and sometimes boringly) smooth sailing of a Marvel movie. But the bright spots (Momoa, that octopus) can be difficult to really relish amid the oceans of exposition and a typically pulverizing, overelaborate screenplay.

It’s sweet news indeed that Mary Poppins Returns, a sequel 54 years in coming, provides just that spoonful of happiness in the form of Emily Blunt, practically perfect in every way as the heir to Julie Andrews.

A film that’s fantastically fresh, both visually and narratively, trippy and post-modern at the same time and packed with intriguing storytelling tools, humor, empathy and action, while also true to its roots — still telling the story of a young man learning to accept the responsibility of fighting for what’s right.

A slow but captivating burn that may leave you questioning your own hard-set ideas of right, wrong and family.

Hedges is as excellent as he was in “Manchester By the Sea,” but it’s fair to say the movie belongs to Roberts. It’s a career peak, and a performance that deserves to be seen no matter how crowded your holiday moviegoing schedule.

The film, for all its prestige and edginess, its lofty goals and contemporary messages, is not a particularly engrossing experience.

Much of The Favourite is caustically clever but it’s Colman who elevates it to something magnificent.

Cuaron is content to take his time with Roma, allowing the camera to linger on his subjects and the frustrating banalities of ordinary, everyday life that sneak up on you with poetic significance as the film goes on

Somehow, this amusingly chaotic mashup of genres finds a way to strike a final note that’s simple and true.

The movie isn’t always quite up to the task. It would be better if it went further and wrestled more with the online world than used it as another bits and bytes background. Really, it doesn’t quite live up to the title. Ralph could have done more damage.

Creed II pulls off a rather amazing feat by adding to the luster of its predecessor and propelling the narrative into a bright future while also reaching back to honor its past, resurrecting unfinished business from “Rocky IV” and adding a dash of “Rocky III.” Pound per pound, the sequel might even be better than its predecessor.

If there is a big studio movie that’s more generally crowd-pleasing than Green Book this season, I have yet to find it.