After having been made and remade for the screen and converted into a long-running hit Broadway show, it might have seemed like “The Lion King” was a played-out property. “Mufasa,” under Jenkins’ poised and creative direction, proves there is still plenty of life left in the long-reining “King.”

Betrayals, narrow escapes and much battle action ensue in the course of the picture’s paint-by-numbers plotting.

Kraven may be the world’s greatest hunter, but next time, he needs to track down a better movie.

The film is an absolute triumph for Adams, who attacks her role like — yes, sorry — a dog with a bone.

Director Justin Kurzel keeps the action taut and lean, letting the story unfold on the faces of his leading men as they slowly move toward their final confrontation.

When Queer wanders in its own direction in the shaky latter half and captivating conclusion, it may lose some watchers in this descent into dreamlike despair. Still, it crafts a critical last paint stroke in its delicate portrait of desire.

Part 2 is undeniably lively and very obviously pitched to young kids. It’s colorful but not especially distinctive.

This magic musical seems made for film, full of gloriously elaborate sets — can I please move into that dorm room, or at least borrow a few pieces from Glinda’s mountain of pink luggage? — and action sequences that a stage production can’t duplicate.

By the film’s poignant final scenes, you feel like you’ve really been somewhere, with a new appreciation of what it means to be home.

Big, bold and bordering on the unbelievable, Gladiator II delivers, big time.

The performances feel wonderfully lived-in, particularly Jackson’s weary, noble Doaker and Deadwyler’s brave, watchful Berniece, a widowed mother determined to make a good life for her daughter and leave the past in the past.

Not a perfect movie, but a truly moving one.

Heretic needed some trimming, but Grant’s performance is just the right size.

There’s nothing remotely fresh about Juror #2, but that’s what makes it fresh — it’s simply a story about neither heroes nor saints, but a group of people trying hard to do the right thing.

Ultimately “Pérez” seems strangely underwhelming, like a lavish party that falls just a little flat.

It’s a scalpel of a film that cuts into how stacked the deck is and how solidarity — or the lack of it — can determine whether you survive unscathed.

Its settings and cinematography are beautiful, filled with marble hallways and vivid red carpets that seem to be punctuating the scenery with a slash. . . And its performances are a pleasure, everywhere you look.

“The Last Dance” brings nothing new to the series. In fact, it brings less than the previous two movies

Finn brings bigger, and even more effective, jump scares than the last time, which will keep the popcorn flying. The sound design booms and rattles, the delusions are even more elaborate, and the body horror is even bloodier and more disturbing.

Ultimately, it’s a wild experiment that mostly falls flat.

A Different Man spins out of control in its final act, but still leaves you pondering its questions.

Megalopolis is a misfire from the start.

Complex and lively, The Wild Robot is thoroughly delightful on every level. It’s a rare treat, not just for kids but for adults as well.

Canadian filmmaker Megan Park’s comedy is a touching charmer about growing up, and about that gradual, heartbreaking realization that everything has a last time. If all this sounds a little gooey, let’s remember that this movie features Aubrey Plaza, a wonderfully sardonic performer apparently incapable of goo.

Wolfs is a great idea for a crime comedy, but it isn’t a particularly great movie.

In the midst of all the mayhem it’s sometimes hard to stay awake.

That’s why we watch films like this, for that sensation of safely squirming from our comfortable seats — and for performances like McAvoy’s. With a smile like a demon elf — his teeth practically seem to be vibrating — and eyes that seem to pierce the house’s malevolent darkness, he’s wickedness personified. It’s a huge, pitched-to-the-balconies performance, and shivery fun to watch.

Should you be looking for narrative cohesion, look elsewhere. “Beetlejuice Beetlejuice” is bananas, in its high-end way — bananas wrapped in gorgeous Colleen Atwood costumes, and performed by actors who are clearly having a ball.