The CGI is off the leash. The manufactured chaos is unrelenting. Monsters punching monsters. The pyramids are peril. Awesome deconstruction there.

Everything about Rose Glass’ violent revenge thriller Love Lies Bleeding is unexpected; you watch it as if strapped into a roller-coaster car, not sure when the next dip or swerve might be.

The fourth time is truly the charm in this long-running franchise.

A knowledge of the novel is helpful as well.

A magnificent work of minimalism, the film is about these minute moments just as it’s about the most existential parts of life.

I.S.S. may be a bit untethered, unsure of what it wants to be and what it wants to say, but it’s worth the voyage regardless.

The funniest element of what vaguely gestures toward dark comedy is how poorly written this story about writers is.

Do yourself a favor and go see The Crime Is Mine, a delicious bit of French froth from master director François Ozon.

An emotional authenticity courses through the veins of Suncoast, the filmmaking debut of Laura Chinn.

We’re reminded, in this warmhearted film’s moving final act, that food can bring not only joy but, in the darkest of days, hope.

By the end, it’s made glaringly obvious that the people who made Madame Web intended it to be the prelude to sequels featuring the three proto Spider-Women. Spare us.

Ultimately, Argylle is mostly bad CGI, action sequences that go by so fast you wonder what Vaughn is trying to hide, and a lot of strange tangents.

So there’s not a single surprise along the way. But there is the comfort of familiarity operating in the movie’s favor. And it’s fun.

It’s all big action. Big colorful visuals. Outsized vocal performances.

Through it all, Scott gives one of the year’s best performances, creating life in small moments.

Humongous undersea cities, enormous herds of aquatic creatures and a superabundance of monsters are laid before the viewer. The goal: Make people go, “Wow!” Pardon me, but the overall effect is more like, “eh.”

It’s a sharp, pointed satire that’s also very funny.

You watch hoping that the always-splendid Condon, an Oscar nominee last year for “The Banshees of Inisherin,” is getting a really good paycheck, and wondering why writer/director Bryce McGuire saw fit to expand his very effective four-minute 2014 film “Night Swim” into this soggy mess. Don’t go in the water, indeed.

It kind of gives you a sense of whiplash, oscillating between the glory of professional victories, the miasma of personal grief and the nexus where those two often meet.

Bazawule slowly but surely lifts us up, letting us soar with the cast by the end.

This movie, while perhaps not quite as charming as the 2000 original “Chicken Run” (lightning rarely strikes twice, even on chicken farms), is a hoot.

The Boys in the Boat is ultimately a tribute to a time long gone, to the power of teamwork, and to the grace with which an oar dips into the water on a sun-dappled lake.

Often beautiful, never pretty, occasionally creepy and perpetually surprising, Poor Things lives in Stone’s fiery eyes; her performance is, to borrow Bella’s words, a changeable feast.

Wonka is the kind of movie that’s full of moments of enchantment.

It’s a film full of creative swirls.

Twenty-five years in the making, this warmhearted, generous film is a quiet masterpiece — the very specific story of one family, but one in which many of us can find our own.

As far as truly caring about anything that goes on in this epic, well, that’s a chore. And with a run time of more than 2½ hours, that chore becomes ever more burdensome as the minutes tick away.

Limited by his budget, Woo makes the most of what he has, but the whole thing feels like he’s cautiously dipping his toe back in the Hollywood pool.