This final installment finds Soderbergh and Tatum toying with audience expectations to disappointing results. There are a few flashes of the original magic, but it’s lacking in the energy that made the first two movies a thrill.

Shyamalan’s latest cinematic confrontation with mortality and meaning, Knock at the Cabin, is among his best work.

This quiet tale of an ordinary 1950s London man (Bill Nighy) facing the end of his life is a joy: elegantly written, movingly performed, evocatively filmed.

The swift and suspenseful “Missing” plows through nearly two hours of shocking plot twists at a breakneck pace, and while it’s entertaining to be sure, it also takes on a somber tone as it reckons with grief, loss and intimate partner violence in a way that’s very real, backed up by headlines ripped from the news, and yes, those true crime series and TikToks that are so very compelling.

Alice, Darling is a bit of a slow burn, despite what its trailers would have you believe.

It’s a sly little film, playing with our expectations, keeping us guessing — and wondering if Krieps’ name might be as familiar as Streep’s, one day.

There’s nothing special about any of this, but as a generic thrill machine, Plane certainly delivers the goods.

Director Gerard Johnstone demonstrates a visual awareness of genre convention that he then uses to both sendup and skewer common tropes just as M3gan gets to hacking herself. When paired with Cooper’s unparalleled command of the comedic beats, it becomes one of those films that deserves the hype and then some.

You watch it rapt, leaning in, wanting to know more; you leave it wondering if that shadow at the window was, maybe, yourself.

I can’t say I truly enjoyed watching Babylon, or that I’d ever want to see it again, but I definitely haven’t stopped thinking about it since screening it earlier this month.

So yes: Wow! Gasp! There are some really pretty pictures here. But wow! Gasp! The story is really pretty … stupid.

“Salvatore” is a pleasure for anyone who loves shoes and/or good movies.

The picture is a hugely entertaining crowd-pleaser studded with laugh-out-loud moments from beginning to end.

While it is a work that can only hold a candle to the enduring piece of literature written all those decades ago, there is still something oddly spectacular about it.

Colman, on whose face the film frequently rests (does anyone in cinema have a more open, guileless smile?), quietly holds the drama in her hands. Her Hilary is fragile, yet touchingly determined to will herself toward the light.

The uneasy marriage of clunky psychodrama and overwrought special effects along with the fact that none of these characters are particularly likable make Strange World a chore to sit through.

The Fabelmans is a movie about being seen — and about learning to see.

It’s an artful, moving and often beautiful film, but be careful about showing it to young children; nightmares could ensue. (It haunted me, and I’m quite grown.)

You watch “Glass Onion” relaxed, feeling like you’re in good hands; everyone on-screen is clearly having a wonderful time, so you can’t help but join right in. The plot’s a clever, multilayered caper, echoing the elaborate structure the movie is named for, and Johnson fills the script with funny name-dropping . . . and lets the cast happily ham it up.

Adams, six Academy Award nominations later, still sings and dances like a Technicolor dream, and this time around she gets to have some fun as not only the ultra-sweet Giselle, whose voice sounds like butterflies and sunrises, but an evil alter ego.

For the right audience, The Menu also succeeds as satire of the darkest possible, hilarious kind, best served with plenty of popcorn.

It’s a moving and engaging film about finding truth, told through the perspective of two people who are very, very good at their jobs.

There’s so much that Black Panther: Wakanda Forever does right that it’s frustrating to blame it for the one flaw it can’t help. But you watch it wondering about the movie that never got made, the story that never got finished, the life cut short too soon. Maybe, in a few years, this franchise can make a truly fresh start; this movie efficiently and skillfully lays the groundwork for that. It takes time, as wise Wakandans remind us, to move on.

“Oppy” is a salute to the best of what humans are capable when they unite in a common purpose to expand their knowledge of matters beyond the realm of the known.

Henry’s performance is delicately nuanced. His character is by turns cheerful, ruminative, anguished. His performance and Lawrence’s are complementary. They play off each other well.

Under Chukwu’s steady, sensitive direction, Deadwyler’s performance is such that it overshadows everyone else in the movie.

Wickedly clever and unexpectedly touching.

Once it gets going, Black Adam feels like a continuous closed loop of destruction where the moments of mayhem blend darn near seamlessly one into the other. And those special effects look incredibly cheesy.