As an homage to Friedkin’s movie, Green’s take is respectful and genuinely scary. Let those tubular bells chime forth in celebration.

Anatomy of a Fall is anchored by the powerfully present Hüller, who bleeds and breathes into the environment, even as she stands out.

The game, propelled by twitchy point-of-view camera work and abundant jump scares, is fast-paced. The movie is anything but.

A more self-impressed movie than Dicks: The Musical would be hard to imagine.

“Killers” is a master class in filmmaking, taught by that one professor we all had in college whose every word we hung on, and whose classes always felt too short. It’s that thing we always look for but so rarely find: a great story, beautifully told.

It wants to make a joke at its source material’s expense, but all it ever accomplishes is making you want to watch those classics instead.

There are lots of ideas rattling around in it — about artificial intelligence, about racism, about American aggression on the world stage, about the future of humanity. And rattle and clang they do. And also clunk. The various elements are not well integrated.

The gunplay is primary though there are some obligatory scenes of martial arts fights.

We may know how this strange saga ends, but Dumb Money will make you feel something, too. Whether that’s jubilation for the Davids or rage at the Goliaths, well, isn’t that kind of the point?

An engaging picture brimming with uplift.

As always, it’s a pleasure to watch Branagh’s Poirot as he watches, never missing a thing; may he return, with a more worthy corpse next time around.

The stories of growing up and finding yourself remain the same, but it’s the moving performances and specific details embroidered on this one that make it so special.

Toula and Ian are sweet and bland; their relatives are predictably wisecracky, and the whole thing just feels like watching someone’s extremely well-produced vacation video.

In all honesty, Gran Turismo isn’t much more than marketing for the video game coated with a cheer-inducing veneer. But for two hours, you, like Jann, can feel the rest of the world fall away and experience something joyful. It’s predictable yet infectious, charming if a little cheesy at times.

As Finley manages a last unassuming gut punch, it strikes painfully true. It provides one final drop of mundane dread that reveals how the most comprehensively exploitative of systems can become terrifyingly normal. Good thing that’s only science fiction.

Interspersed with the overabundant slam-bang action sequences which up the silliness factor with their increasing improbability are heartfelt paeans to the bracing solidarity of Jaime’s family. Their sincerity is the picture’s best element.

To paraphrase a song that pops up in the film — of course it does — during one of countless swoony moments, you can’t help falling in love with this movie.

Every plot twist is easily anticipated...The ending hints at the possibility of a sequel, but that’s a prospect that leaves one cold. As far as “Demeter” is concerned, enough is enough.

The cast is a delight — Cola, between this film and “Joy Ride,” is officially the funniest best friend of summer 2023 — and the film has some thoughtful things to say about identity, attraction, ambition and moving on.

A fast-moving, clever and funny picture.

Talk To Me isn’t just a splashy debut for the Philippou brothers, who prove their filmmaking chops in making the leap from the small screen to the big. It’s also an incredible introduction to a remarkable actress in a role that will undoubtedly prove to be an instant classic horror movie heroine.

Ultimately, Haunted Mansion feels like the ghost of a movie — just a fleeting shadow, one you can barely remember in the morning.

Oppenheimer is hard to watch, just as that life was surely hard to live; it’s a careful, deliberate stepping toward something unspeakable.

The Barbie world was a grown-up one — wildly sanitized and outfit-focused and unrealistic, but grown-up nonetheless — and, for a kid, an irresistible place to visit. Greta Gerwig’s exuberantly pink new movie “Barbie” both understands that thrill and has sly fun with it.

Along the way, we learn that all four actors are not only charmingly believable as friends but also brilliant at physical comedy.

Cruise valiantly throws everything he’s got into the movie — including a lot of his trademark Very Intense Running — and the result mostly works, but it feels like a franchise that’s winding down. Here’s hoping a few thrills have been saved for “Part Two.”

Holding it all together is Ford, his hair steel-gray, his face craggy, playing the part with authority. And this time he invests Indy with an inner depth not previously seen.

Megan Griffiths’ latest, I’ll Show You Mine, is impeccably filmed and thoughtfully written, but it doesn’t quite justify its running time.