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.

Do I think we need more reheated IP that uses our collective nostalgia as catnip to cover up the fact that we didn’t actually care that much about the original film? Nah, of course not. But if you’re gonna make it, make it well, make it fun and make it stand on its own two narrative feet. This update pulls that off, and with a bloody high body count to boot.

There are no safe places in his pictures. And Eddington is dense with multiple levels that stoke the ever-present unease.

This is a dynamic, delightful film and the introduction of an exciting, uncompromising new voice.

Parts of that story may be hard to watch, but, anchored by Venter’s extraordinary performance, it’s not hard to enjoy.

But there is bashing aplenty, and it all looks gorgeous. The action sequences are top-notch, the stunning visuals adding a delightful crunch (bones do break) and a sense of scale appropriate for someone like Superman. (There’s so much property damage, it’s ridiculous.) Throw in heat-vision lasers, freezing breath, Mach-speed punches and a superpowered flying dog, and it’s a rollicking good time. (Go see this in IMAX, if possible; you won’t regret it.)

Despite excellent performances all around, that balance is off in this follow-up, which has more characters but is less character-driven.

The bottom line, for any movie that purports to be a thrill ride, is whether the end result is thrilling — and I’d give a definite yes to that.

As "M3GAN 2.0" drags on, it's impossible to shake the sense that Cooper's voice was the key to the original.

Though it’s fun watching Pitt swanning about in his nonchalant way — and a delight to see Kerry Condon, as a F1 technical director, finding some playful chemistry with him — this movie is entirely about the driving, and the speed.

Not that it was ever in question, but 28 Years Later is an invigorating reminder that Boyle, as a technician of dizzying, daring cinematic style, has never lost his fastball, and he employs it to great effect emphasizing Spike’s visceral emotional experience.