Even if [Garland] offers no clear solutions to this crisis, he throws his full weight into exploring it. Just be warned that the path he cuts is a thorny one.

You could compare Armageddon Time to autobiographical reflections like Alfonso Cuaron’s Roma or, to a lesser extent, Kenneth Branagh’s Belfast, both stories in which kids’ eyes are suddenly opened to the unfairness of the world. But for all its tenderness, this isn’t a movie that allows you to make peace with yourself, or with our highly imperfect world.

The highest purpose of movies is to give us more than what we think we want, and even though Three Thousand Years of Longing offers plenty of rapturous imagery, the arrow it shoots from its mighty bow just doesn’t pierce as it should.

Downton Abbey: A New Era goes down as easy as a Nice sunset.

Top Gun: Maverick, directed by Joseph Kosinski, is a much better film than its predecessor was, and much better than it needs to be overall.

Aside from the fact that Operation Mincemeat features not one but two former Mr. Darcys (one from the much-loved 1995 Pride and Prejudice mini-series, the other from Joe Wright’s similarly marvelous 2005 film adaptation), and works beautifully as a romance, it’s also a cracking espionage caper.

It’s an unyielding picture in some ways; you might long for a sliver of optimism tucked amid its layers of grim truth. But then, all its hope lies in Anne’s face, as uncompromising as an early crocus. This is the face of a woman who deserves much more respect—for her body, for her very life—than her society affords her.

The best thing you can say about the moderately entertaining, if predictably excessive, Doctor Strange in the Multiverse of Madness is that if you squint and concentrate really hard, you can tell it’s a Sam Raimi movie.

So much of Vortex is stirring, compelling, upsetting. But a greater share is merely numbing in its depressive showiness.

The Northman, whether you approach it as legitimate folklore or as a testosterone-fueled Saturday-afternoon lark, speaks to the 10-year-old boy in all of us, with a loud and mighty Viking burp.

Unfortunately, The Unbearable Weight of Massive Talent, a meta-comedy of ostensibly epic proportions, is not nearly grand enough to embrace those multitudes.

For a surprisingly solid stretch, Ambulance is great fun.

Everything Everywhere is fringey and wayward, too often frenetic only for craziness’ sake. But Yeoh anchors it. When the story around her flails, she gives you plenty to hang onto.

Memoria is moody and perplexing, even in the context of Weerasethakul’s others, and if you’re a neophyte, it may not be the best one to start with. But even so, its circuitous, misty trails of logic leave you feeling as if you’ve been entrusted with some kind of nebulous treasure; it’s easy to become pleasurably lost in speculation about what it all means.

If the premise sounds tired, what’s surprising—or perhaps not—about The Contractor is how well Pine carries it.

How you feel about Morbius will probably depend on how much you have invested in the Sony-Marvel pie slice, and on your feelings about Leto, who perhaps isn’t so much a serious actor as one who takes himself very seriously. Still, his performance here has a quietly vibrating vulnerability; he seems to have made at least a small emotional investment in this film, as if to keep it from sliding into total special-effects-laden soullessness.

Breezy, silly, possibly quickly forgettable—but if you need to lose yourself for an hour or two, it could be just the thing.

The picture is a bit arty and decorous; it could do with fewer swimmy camera moves. But Young vests it with a fascinating, flinty grace.

At the center of this clever pinwheel of a story—Moore co-wrote the script with Johnathan McClain—is Rylance, whose economy of motion and emotion is a marvel.

Deep Water comes dressed up as an ‘80s-style erotic thriller, a genre that I, for one, would love to see revived. But it’s so tepid, so lacking in heat or even a pulse, that it’s about as sexy as a clogged artery.

The Adam Project should be fun, but it’s sabotaged by its unwieldy ambitions. Forget the complexities of time travel, of wormholes and the laws of physics. This movie can barely get from point A to point B without tripping over itself.

After Yang invites us to think about big questions that might normally invite melancholy. Yet somehow, Kogonada pulls off the opposite effect. His movie makes us feel less alone, part of a network we can’t fully comprehend from our place on Earth.

The Batman is a moderately well-made film, with some appealing performances, most notably from its star, Robert Pattinson, and from its cryptically glamorous Catwoman, Zoë Kravitz. And it looks like a movie, which used to be something you didn’t even have to say: The Batman may be dark, literally—its doomy, underlit ambience comes courtesy of cinematographer Greig Fraser—but at least it’s pleasurably cinematic, a picture that creeps to the edges of the big screen with an operatic flourish.

Big Gold Brick may be a bit too enamored with its own quirkiness, but everything Garcia does, no matter how outlandish, feels perfectly natural.

Joe Wright’s well-intentioned adaptation of Erica Schmidt’s stage musical (itself drawn from Edmond Rostand’s 1897 play Cyrano de Bergerac) can’t survive its own petulant, self-centered love object, Roxanne (Haley Bennett).

Even if you’ve never had the pleasure of eating in an Automat, Hurwitz brings the experience to life.

Not everything in Dog works—you can sometimes see its directors scrambling to find the right tone, and not quite succeeding. And the movie is not wholly free of hokum. But watching Tatum is pure pleasure.

There’s nothing cuddly about the were-creatures of The Cursed. But there’s no question that they get the job done.