Röhrig’s performance is an extraordinary feat of minimalism. His expressions convey a deadened spirit. Yet behind his eyes and at the corners of his mouth are signs of a spirit that won’t be crushed.

Mortal Engines hasn’t much in the way of originality, other than its rolling city, to distinguish it from other, better post-apocalyptic tales.

Eastwood is known for his ruthless efficiency as a filmmaker, but The Mule feels dashed off at best, barely even a movie. It’s a strange rough draft, poorly executed and disastrously performed, despite the starry cast.

Mary Poppins Returns, made with palpable love for its predecessor, is glorious and gorgeous, and I adored it.

Into the Spider-Verse is pure fun, nonstop from start to finish.

You find yourself focusing on the details of Alexandra Byrne’s flowing costumes, or on the wince-inducing meticulousness of Robbie’s post-pox makeup, rather than caught up in the story. Except when Ronan’s face catches the light; there, Mary Queen of Scots finds its fire.

Just as it lulls you, it also devastates.

Alfonso Cuarón’s Roma is a wondrously pure example of one of the great gifts that cinema can give us: to drop us into a time, a place and a life; immersing us in the sounds and the sights and the emotions, large and small, experienced by someone we’re not.

Does “Anna” deliver on its billing? Well, it does for a while. For its first half, the movie’s blend of earnest teen crooning and dismembered blood-geyser heads is pretty entertaining.

The real fun here is in the three central performances, each of which threatens to steal the film (giving “The Favourite,” appropriately, its own balance-of-power issues).

No previous screen rendering of the Rudyard Kipling classic — not the 2016 Disney live-action epic and certainly not the jaunty, tuneful 1967 Disney animated version beloved by generations — has been so very dark and wild and, surprisingly, thoughtful.

In a digital fantasy world where culture has been abandoned in favor of commerce, talent is the cheapest commodity.

Jason Reitman’s The Front Runner is so crowded with characters and overlapping conversations and crammed-full rooms that it’s easy to miss the quiet at its center: the enigma that is Gary Hart.

The likable tale of a real-life friendship, Green Book lets us spend two hours in the company of two electric actors.

The dour environment doesn’t help, the humor doesn’t pop and, disappointingly, the scares just don’t land. There are a few jumps and bumps, but there’s no real sense of dread or unease or questioning.

A conventional but thoroughly entertaining film.

When it’s good, Ralph Breaks the Internet is very, very good. When it’s not, it’s annoying, cloying and LOUD!

“Turn off your brain, and let your heart do da talking,” advised Rocky, and he was right. This franchise just might go on forever, and my heart kind of hopes that it does.

The pace of Instant Family can be relentless. But with the supporting cast and a whole lot of genuine authenticity, Anders hits that sweet spot of hilarious and heartwarming, where the sweetness and tears are well-deserved, and earned.

While it’s often great fun to look at, “Crimes of Grindelwald” fails at what should be Rowling’s great strength: storytelling. Three more to go, and an infusion of magic is desperately needed.

All in all, this “Buster” is something else.

Widows is smart, soulful and surprising in every frame, weaving statements on race, gender, crime and grief into a tick-tock (and tip-top) heist plot.

While the first “Grinch” I will always adore It’s possible that there’s still room for one more. Hearing the Who’s sing their songs to the skies — It’s still movie magic, whatever the size.

It’s Hedges who owns the film, who lets us see Jared’s pain and confusion on his tightly clenched face — and who, in a gentle epilogue, gives us a lovely, wordless demonstration of freedom.

Pike shows us both the strength and the quietly growing fear, as Marie becomes a jittery shadow, her voice getting thicker, more desperate.

Zombies. Nazis. Clichés. Insane violence. Overlord delivers a whole lot of much too much.

The “Dragon Tattoo” series continues with “Spider’s Web,” but it seems as though the franchise is running out of gas and fresh ideas.

You don’t really watch Suspiria, you endure it.