It’s a film full of quiet magic; of the power of words not spoken, and the enduring strength of love.

It’s nuts. It’s fun.

Director Caple Jr. takes his time allowing Ramos and Fishback to develop their characters as they fight being marginalized and dismissed in ‘90s New York. They’re no mere cardboard characters but rather fully dimensional individuals, a rarity in “Transformers” movies.

The movie becomes an immersive experience that sweeps the audience into all-encompassing venues of imagination.

Louis-Dreyfus, making Beth neurotic and loving and devastated and furious all at once, is a joy to watch.

Bailey gives a glowing performance of effortless starshine; her singing voice has both sweetness and power, and her smile is the sort on which dreams dance.

Though I’d have preferred Fast X to have a little more driving and a little less fighting, and was disappointed to realize that the film’s climactic moment is pretty much in the trailer, this movie is good, silly popcorn fun — with a couple of scenes at the end (stay put during the first half of the credits) indicating even better times ahead.

It may be treacly and unrealistic, but “Book Club: The Next Chapter” has heart and soul, and it’s as sweet and quaffable as an Aperol spritz on a hot day.

You know, there was a time when “Guardians of the Galaxy” was fun. That time was 2014, when the first picture came out... Now here’s “Vol. III.” And it’s no fun at all.

Are You There God? It’s Me, Margaret is both lovingly faithful to its source, and very much its own creation; how lucky we are to have both book and movie, preserved for girls past, present and future.

History almost erased Joseph Bologne; this film lets him live again.

There are pleasures to be found in Renfield, particularly a stylish black-and-white sequence early on, and in Hoult’s wistfully debonair portrayal of a well-meaning chap trapped in a job he never applied for. But even with its brief running time, the movie runs out of steam too quickly, and Awkwafina’s character in particular seems like a first draft

The style is busy, Affleck laying a heavy hand on the ’80s references and music cues, Robert Richardson’s cinematography mimicking the amateurish style of someone with a brand-new camcorder. But the pace flies, and the actors make the film wildly engaging.

Although the sense of being inside a video game is strong, one critical element is lacking: interactivity. Players are always working their controllers to send characters on their complicated journeys. They’re participants. A movie, by its very nature, turns everyone into spectators. We watch, but have no control over what we see. And what we see in “The Super Mario Bros. Movie” is nothing more than empty-calorie visuals.

It’s a world of fantasy, but as depicted in Dungeons & Dragons: Honor Among Thieves, it has a solidity and imaginative depth that makes it seem astonishingly real.

It’s a feel-good film about dreams, about obsession, about believing in yourself when nobody else seems to be doing it for you, and Hawkins carries it with effortless ease.

It is as if Pugh is having to push her way through narrative waters that threaten to wash away her performance. No matter how she continues to rise to the challenge, the film’s cascading of contrivances drown her out.

Directed once again by Chad Stahelski, the one-time stunt man who has become a first-rate visual stylist and master of pacing over the years of directing “Wicks,” “Chapter 4” is dazzling.

With scenes of epic destruction uncorked with numbing frequency, the picture drags. It’s two hours and 10 minutes long and you feel every last second.

Ultimately, Moving On is about friendship, and who better than Grace and Frankie to show us that?

How you feel about the psychological thriller Insider may depend on how you feel about spending the better part of two hours staring nonstop at Willem Dafoe.

The fat suit is in a sense a distraction in that you wonder how Fraser was able to act within it. But the fact that he does so and so effectively makes The Whale a searing, moving experience.

Returning directors Matt Bettinelli-Olpin and Tyler Gillett show they have an eye for immersing us in well-constructed set pieces that earn their terror and are all distinct from each other.

One scene cuts right to the next, eschewing a typical progression of shots or exposition to instead just let us observe the little details. It creates an arresting experience that feels as if we are merely witnessing memories fading into each other as Sandra tries to find solace amid her growing sadness.

You can see clearly in the final scenes where “Creed IV” might be headed; you can also see that Jordan as a director shows promise well beyond this film. “Creed III” works as well as it needs to, and for the umpteenth film in a franchise, that’s more than enough.

As a creature feature, Cocaine Bear isn’t bad. Not great, mind you. But not bad.

This Emily is indeed unworldly, uncomfortable around strangers, struggling to comply with what society expects of her. And yet the artist bubbles up inside her, emerging at moments both inconvenient (there’s a harrowing sequence at a party in which Emily dons a mask and takes on a ghostly persona) and poetic.

Great acting is a con game, of the highest order, and it’s a pleasure to be Moore’s mark.