Brian Truitt

“Lightyear” is a crowd-pleasing effort that doesn’t shoot for the moon but manages to be a nostalgic blast anyway.

Although overly familiar, “Dominion” boasts everything you’d ever want in a “Jurassic” film and is the best in the series since the original 1993 movie.

Cronenberg has crafted a story that brings together what we do to our bodies to feel and look good – though that’s sometimes in the eye of the beholder – and the synthetic materials that play a key role in both our modern lives and environmental crises.

Directed by Simon Curtis and written by series creator Julian Fellowes, the sequel is a charming and soapy new chapter filled with enjoyably dry humor (mostly courtesy of the fantastic Maggie Smith), some heartbreak, a dash of mystery and a history lesson from old-school Hollywood.

As insanely cool as the aerial dogfight scenes were in the original, the sequel’s action sequences levels them up with unreal camera angles and nonstop tension.

Doctor Strange in the Multiverse of Madness definitely makes good on the promises of an excessive title: Alternate realities are in full effect, things get progressively more bonkers, and the latest adventure for Benedict Cumberbatch’s Marvel magic man takes “the search for one’s self” conceit to a whole new level.

Everything Everywhere is an action-packed club sandwich of weird, but also a splendidly human experience to cherish.

The third installment of director David Yates’ “Harry Potter” period prequel series still is overstuffed with characters and subplots, yet polishes a few missteps from previous films. There’s a renewed emphasis on magical creatures and another decidedly political bent to the franchise as it digs into dark themes and offers a bewitching goofy side.

With Leto flying and jumping through New York City as a do-gooding bloodsucker with moral “Should I feast on my fellow man?” quandaries, “Morbius” is a lifeless slog with no real bite.

The Lost City isn’t a bad movie, and it’s sufficiently ridiculous for those seeking a gonzo escape with A-listers. You're just left wanting in general, be it extra Pitt or more ribaldry.

Shi crafts a heartwarming, empowering and fun narrative about female puberty and a changing mother/daughter relationship.

Pattinson’s main man holds down a revamped Gotham that feels distinctively gritty with its blueprint of madness and mayhem, a place you would never want to live in but still would love to revisit as soon as possible.

It’s a rather impressive feat to bury Tom Holland’s considerable charisma, though that is one of the few aspects where his new film “Uncharted” actually succeeds.

Two years after the release of “Orient Express,” “Knives Out” reinvented the all-star murder mystery in a fun and refreshing fashion, and Branagh’s latest just seems stale in comparison, with no new life in this “Death.”

With “Tragedy of Macbeth,” something wicked this way comes – something familiar to anyone who remembers high school English classes but also at times a darkly enchanting delight.

Clearly far from the worst the franchise has offered (sorry, “Scream 3”) and not quite to the level of the late Wes Craven's innovative 1996 original, Ghostface’s latest slice-and-dice through Woodsboro checks all the appropriate boxes though lacks some of the quirky fun that marked previous entries.

The new "Matrix" tries to reprogram a beloved piece of cinema. However, it’s quite a few fixes short of a full upgrade.

Even though there are a bunch of interesting personalities (like Ron Perlman’s strongman Bruno), Nightmare Alley lacks the human connections that not only made del Toro’s last effort, best picture winner The Shape of Water, so entrancing but also populate the 1947 adaptation of Gresham’s book.

Director Jon Watts’ third Spidey film is a rousing entry that doubles as a love letter to the comic-book character, a film very much about second chances and a cleverly crafted reminder of that famous adage: “With great power comes great responsibility.”

While it lacks a strong overall narrative focus, "Ricardos" makes the most of a strong supporting cast and Sorkin’s excellent, banter-filled script.

With outstanding performances from newcomer Rachel Zegler and Ariana DeBose, Spielberg’s take doesn't stray too far from the original 1957 “Romeo & Juliet”-inspired Broadway musical or the 1961 best picture winning-film, but is rather a more authentic, dynamic and thoughtful revamp.

The period drama The Power of the Dog is a picturesque, enthralling exploration of male ego and toxic masculinity, crafted by an extremely talented woman and offering enough nuanced bite to keep it interesting till the very end.

With Licorice Pizza, Anderson delivers a warm tasty slice of adolescence as well as two fresh-faced youngsters that will satisfy cinephiles for years to come.

But be warned, fellow best actress contenders: The power of Gaga is undeniable as she rules House of Gucci with powerful panache and addictive swagger.

Smith brings passion and stubbornness to Richard, a controversial figure in some corners and a devoted dad in others. The movie itself is a rousing if familiar sports drama that takes care of the surface-level narrative but doesn’t delve deeply enough into the meatier stuff, at times seeming to have the wrong focal point.

While teenage star Mckenna Grace infuses the aging property with a needed burst of youthful energy, co-writer/director Jason Reitman (son of original filmmaker Ivan Reitman) is more interested in looking backward with the sequel, leaning way too hard on old characters, story beats, plot points and zingers.

While the narrative doesn’t totally land, the voice cast is solid and the vibe is consistently joyous.

Boldly filmed in black-and-white, Branagh wrings a heartfelt narrative from a superb cast, though the story stumbles somewhat when it strays from its youthful focal point.