This intriguing fraction of a biopic rises above a clumsy script and stagnant direction on the strength of watching rock icon Bruce Springsteen, admirably played by Jeremy Allen White, show depression who’s the boss.

Zendaya and Robert Pattinson bring a bracing charge to the premise of turning a romcom about wedding jitters into a deep-dish think piece about the limits of condoning violence, real or imagined. The ending doesn’t work, but oh the drama!

As killer ape movies go, this one’s a bloody wonder—it’s too bad no one bothered to add plot, character or a reason to care

Scream queen Samara Weaving is back in this horror comedy as a bride who takes her vow of “till death do us part” way too seriously. There’s more of everything this time, except for the irreplaceable shock of the new.

A charming Elizabeth Olsen must choose between two men in the afterlife. The trouble with this often-beguiling romp is that it takes an eternity to wrap up. Too bad no one ever learns how to quit while they’re ahead.

Charlize Theron gives everything she’s got to a survival thriller right out of the cliché spin cycle, but there’s no contest when she pits herself against a raging Mother Nature and Taron Egerton’s psycho cannibal killer. They never had a chance.

Anne Hathaway and Michaela Coel are dynamite in a pop rock opera from director David Lowery that wins points for visuals and suffers from a terminal case of grandiosity

After a one-year intermission, “For Good,” makes its debut as a darker, gloomier, frustratingly less dazzling take on the “Wicked” IP. Should you still see it? Damn straight. Despite its stumbles, the final half of this witchy brew soars on the musical wings of Cynthia Erivo and Ariana Grande who are twice as wonderful the second time around.

The visuals dazzle, the plotting not so much in this gender-switched take on “Hamlet” as a warrior princess revenge epic from Japanese anime master Mamoru Hosoda.

It’s Russian history for dummies, but a never better Jude Law paints a portrait of Putin as a young tyrant that rings thrillingly, scarily true, as does Paul Dano as the dangerous puppeteer who trains him.

Sally Field mothers a talking octopus in a shameless tearjerker that doesn’t shy away from eye-rolling cliches but may just be the empathy booster we all need right now.

Glen Powell runs for his life to win a reality TV jackpot in a remake of a dystopian Stephen King thriller that comes on like gangbusters—until it loses steam.

Margot Robbie and Jacob Eloridi get steamy in Emerald Fennell’s overheated but undercooked take on Emily Brontë’s classic Gothic romance in which they suck each other’s faces with a wild, porny abandon that would shock Victorians. No complaints here.

Despite Christian Bale and a wow Jessie Buckley as Frankenstein and his missus, Maggie Gyllenhaal’s big swing at remaking a horror classic is a hot, unholy mess. One caveat: no one who still values artistic risk should dream of missing it.

Kate Winslet makes her directing debut with a script written by her 22-year-old son and acted by A-listers who, try as they might, can’t save it from dying-at-Christmas clichés.

Forget anything new. Director Renny Harlin is merely spitpolishing his same old bag of shark tricks. But the dude knows how to deliver assembly line product like nobody’s business.

Do Hollywood suits think we want nothing more from a Christmas movie than to feed on the dead carcass of an undeserving horror franchise? The scary part is they may be right.

Props to Charli xcx for grabbing her brat moment at Sundance. The dance-pop princess shows real acting potential, even though this misbegotten mockumentary gives her few chances to show her range.

In this romcom that evaporates while you’re watching it, a mismatched Halle Bailey and Regé-Jean Page fight a losing battle to outshine the scenery.

Jason Segel and Samara Weaving get laughs, but their murder comedy is total tonal chaos.

There’s good reason to throw stones at Luca Gaudagnino’s teasing provocation about cancel culture. So have at its dawdling, blowhard, philosophical pretensions, but the film—riding on the power source that is Julia Roberts—stubbornly lingers in the memory.

A sexy, snappy Eiza Gonzáles steals the show from costars Jake Gyllenhaal and Henry Cavill, but this Guy Ritchie mission impossible is not that bad, just generically, disposably ordinary, a good way to kill time while nodding off on a flyover.

Jesse Eisenberg and his magician crew plan a diamond heist, but slinky, shady Rosamund Pike steals this zircon of a movie

A zowie Zazie Beetz takes a fiery axe to anyone who messes with her sister, but we’ve seen it all before and better. Boring is too small a word to hold the heaps of tedium that come with relentless repetition of kill scenes where no one dies

Maika Monroe brings battered heart and soul to a Colleen Hoover soap opera that renders “big” emotions with the small details that make them count.

Maika Monroe plays a drug dealer facing off with her rodeo champ dad Troy Kotsur in a by-the-numbers thriller minus any real thrills. It’s the hints of a better film—fiercer, funnier, more attuned to a woman’s point of view—that nag at you.

In this sadly stunted comic thriller, a delightfully depraved Glen Powell must kill seven of his family members to inherit $28 billion. Would you? By the end, the film’s lockstep quality commits the worst crime of all by killing our interest.

A numbingly dull follow-up to two “TRON” epics that even Jared Leto and a great score by Nine Inch Nails can’t make great again.