It’s odd that Guadagnino clearly wanted to make a movie that people would talk about, but doesn’t seem quite sure of what he wanted it to say.

Condon doesn’t shy away from the violence and tragedy at the heart of this story, but he lets us see the tender, hard-forged connection between Molina and Valentín, and also lets us disappear into a world of tinselly Hollywood beauty, just as they do.

If all you want out of your Tron movie is amazing visuals, a great score and some fun action sequences with light cycles, cool weapons and even a Recognizer, “Ares” will execute that command. Anything more, though, and it all starts to get a little glitchy.

It’s a promising but uneven debut, not quite worthy of its star.

The picture itself is more workmanlike than transcendent. It marches along but doesn’t soar.

Paul Thomas Anderson’s One Battle After Another — the most entertaining, exhilarating movie you’ll see all year — is an incision into a raw nerve. A thrilling, tense portrait of modern life, it’s Anderson’s most urgently relevant work yet.

Him is a bit like the red-faced drunk next to you at the Seahawks game: loud, fun at first, wearing thin after a few drives — asleep by the end.

When everything’s clicking, there are moments of real beauty and introspection to be found here.

It doesn’t have the same wild unfamiliar sparkle as the original, but that’s the point. The joys of this film are similar to the joys of a beloved (real) band’s reunion concert: watching decades of personal and musical history play out onstage, cheering for the revolutionaries of their day and, in the case of the actor-creators of Spinal Tap, seeing what more than 40 years of commitment to a bit — and to each other — really looks like.

It’s a visual spectacle, a 155-minute fight-to-the-death battle anime held together by a series of emotional lows told in flashbacks covering the worst demons in each hero and villain’s past.

Downton Abbey: The Grand Finale is as good as it needs to be, though like the other movies it’s probably a complete puzzlement to anyone not already familiar with the franchise, and creator/writer Julian Fellowes can’t resist having someone earnestly intone something about Things Change And We Must Change With Them every two minutes.

Executed and performed with precision, the focus is on the relationships, but not breaking the system itself. The message of The Long Walk is muddled, at once hopeful and despairing.

With the dour drudgery of “Last Rites,” it has never been more clear that it’s time to move on from their story, even as the memories of better installments linger.

It’s a whiplash journey of humor bordering on callousness, and sadness just shy of suffocating, but you’ll want to hold its twisted, bruised heart in your hands all the same. It deserves some comfort after all it’s been through.

Both star and director are at the top of their game here, and that’s as good as movies get.

Aronofsky has always been an actor’s director, and even though he’s playing in the pulp sandbox with “Caught Stealing,” he lets Butler shine. There are a few choices to side-eye in the script, to be sure, but Butler, Kravitz and Libatique are unimpeachable on this wild ride.

The satisfaction of a cozy mystery doesn’t always come exclusively from a complex puzzle solved; it also comes from justice done and, ideally, comeuppance savored. Despite being beautifully made, this tepid, moralizing story denies us any of those pleasures. Rude.

For those who like their comedy so dark that it’s practically blackened, may I present The Roses.

Even if the weave is loose and the big final reveal takes such a hard-left turn it could cause another traffic fatality, Honey Don’t! is a bleak and breezy good time. Don’t overthink it.

Ne Zha II deserves all the attention and accolades: It’s an empowering film that makes you believe that you, too, can change your fate.

Glander’s debut has vibes to spare, but he never coasts on them even as Billy coasts around the Florida landscapes. In the end, he delivers a full meal of a film that, like the giant hot dog we see in one shot in the middle, is a mesmerizing work of art worth taking a big bite out of. It will never be to all tastes, but to those who find themselves on its wavelength, it couldn’t be sweeter.

Lohan was, and is, a charming and funny screen presence. And if you think this all has nothing to do with the movie, I’d say you’re wrong. This movie’s existence is predicated on our nostalgia for the original film and our parasocial relationship with Curtis and Lohan, as a duo. These feelings matter.

This “Naked Gun” tries hard, but the magic simply isn’t there.

The Bad Guys 2 is not as fun or slick as it thinks it is — especially in its emotionally underwhelming yet visually dazzling third act — but it still carries just enough charm to warrant a trip to the theater.

For vast swaths of this movie, despite excellent, unsettlingly comic performances from Brie and Franco, all I could see was the Big Idea, rather than two people on a horrifying journey. But the more gruesome the story gets . . . the stronger it is, as the over-the-top ick kept my brain present.

Incisive, insightful and very funny.

Caught by the Tides is a beautiful time capsule that holds a record: Humanity can survive wildfire, displacement, disease and heartbreak with music, dance, song and film.

It’s heartfelt, action-packed and just plain fun (and comes with an intriguing mid-credit scene you don’t want to miss). Fantastic indeed.