It’s frustrating that this immense, immersive true-crime story has been squeezed into a two-hour movie instead of a miniseries about the two women reporters—superbly played by Keira Knightley and Carrie Coon—who broke a notorious case the police could not.

The tossed-off charm of the original suffers from bloated sequelitis. Still, star Zachary Levi’s comic-book invitation to shake your sillies out will be hard to resist for underserved family audiences.

Oscar weekend is the perfect time to catch up with Edward Berger’s anti-war epic about young German soldiers dying in the trenches during WW1. The German-language film earned a wowza nine nominations, including Best Picture, and tragically its message never gets old.

Michael B. Jordan returns as star and now director to play Adonis Creed, the boxing champ who comes out of retirement to take on a fierce new contender (a dynamite Jonathan Majors). Even when the overcrowded plot stumbles, this clash of the titans is worth cheering.

A bear does cocaine and kills people. That’s it. Director Elizabeth Banks revels in deliciously cheap thrills, but then treats her overqualified actors (Keri Russell, the late Ray Liotta) like bear chewtoys while the overcrowded script drifts into hibernation.

The impossibly magnetic Idris Elba brings his iconic series TV character, London copper John Luther, to thunderous life on the big screen and suddenly all is right with the world. So what if the serial-killer plot can’t get a grip, Elba is pure pow.

Even though the ending fizzles out, the star power of Julianne Moore and Sebastian Stan turns this tale of con artists on the hustle among Manhattan one-percenters into a sleek, sexy sophisticated thriller with twists that won’t quit.

The once playful runt of the Marvel litter has come down with a case of bloated excess and despite the ever-likable Paul Rudd as Ant-Man and a pow villain in Jonathan Majors, the third time is not the charm for a sequel that ignores its own cardinal rule -- less is more.

Despite the lusty efforts of Channing Tatum and Salma Hayek Pinault, stripper Mike’s final whirl is a pale, generic copy of the wow that was. The new focus on female empowerment is admirable, but gender politics are no substitute for naked, guiltless bliss.

M. Night Shyamalan can be too fuzzy, earnest and full of himself. But this doomsday thriller starring a never-better Dave Bautista as a modern horseman of the apocalypse confirms that the Sixth Sense maestro knows how to fill the screen with tension and squeeze.

This week’s shocking, out-of-nowhere Oscar nomination for British actress Andrea Riseborough as an alcoholic single mother from West Texas who squanders her $190,000 lottery win on booze turns an indie movie no one ever heard of into an absolute must-see. Prepare to be wowed!

Director Kenya Barris disastrously trades cutting social satire for romcom pablum when a Jewish podcaster (Jonah Hill) and his a Black fiancé (Lauren London) find their love imploding after her dad (Eddie Murphy) and his mom (Julia Louis-Dreyfus) plan a wedding across racial battle lines

A riveting Anna Kendrick brings her own experience with a psychologically abusive relationship to this tale of a young woman who learns to stand her non-violent ground against a male predator through female friendship. The result is quietly devastating.

Hugh Jackman acts his heart out as a parent unable to cope with his clinically depressed son, but even he can’t save this poor relation to The Father from descending into two hours of misery porn.

As always, Tom Hanks is in there pitching, but this time it’s mostly softballs. The cliched plot about a reformed grumpy old man is so obvious you can see it from outer space.

Christian Bale tries to solve a murder at West Point, circa 1830, with the help of young cadet Edgar Allen Poe (Harry Melling). But what should be a gothic mesmerizer ends up a dreary exercise to doom and gloom that’s an endurance test for audiences.

Move over Chucky, here’s the killer robot doll thriller we’ve been waiting for. This jolt of fun and fright stars a sensational Allison Wllliams as the inventor of a babysitting robot who takes her job to the homicidal hilt. The first banger hit of 2023 is right here.

Noah Baumbach thonors Don DeLillo’s virtuoso 1985 novel about the comic-absurdist chaos of consumerism with a too cautious respect. The result is his most constricted film which only breaks free when he allows costars Adam Driver and Greta Gerwig to fly on their own wings.

A dynamite Naomi Ackie acts and lip-synchs her heart out as the legendary songbird, but Whitney deserved a much better movie than this patchwork, cobbled-together biopic that barely skims the professional highs and personal lows that made up her tragically short life.

Here’s the blast of wicked fun we need right now, using song and dance to enhance Dahl’s timeless tale of naughty children vs uncaring adults distilled in the war between bookish Matilda (Alisha Weir is a one-girl talent explosion) and Emma Thompson’s headmistress from hell.

There's about an hour of terrific movie in this love-hate look at lurid Old Hollywood. Too bad it’s trapped in three hours plus of self-indulgent bloat. Even the starshine of Margot Robbie and Brad Pitt dims as director Damien Chazelle rabidly bites the hand that feeds him.

Bill Nighy delivers a master class in acting as a stifled bureaucrat Brit who decides to seize the day before it's too late. Working in miniature to achieve major truths, this deeply human drama has the power to sneak up and knock you sideways.

Weigh the flimsy story against the eye-popping, jaw-dropping, shoot-the-works visuals that fill the screen to bursting and the choice is clear: James Cameron’s 3-D sequel to his biggest hit is the ultimate in-theater thrill ride. You’ve never seen anything like it in your life.

After the infamous slap that sidelined his career, Will Smith returns as a runaway slave in a sorry but noble misfire that offers the disgraced actor pitifully few chances to bring dimension to a real-life character the script traps in a swamp of misery-porn cliches.

Brendan Fraser is on the march to Oscar. That's how astonishing his acting is as a morbidly obese recluse in this deeply moving character study. Accusations that wearing a fatsuit diminishes his tour de force performances are nonsense. This is essential viewin

A love story about two pretty young cannibals won’t strike everyone as an appetizing dish. But you won’t be able to take your eyes off Timothée Chalamet and Taylor Russell as they try to reconcile romance with killer impulses on a road trip through hell.

So what if it’s talky. Writer-director Sarah Polley’s vital film gathers together eight women—acted with heat and heart by a miraculous cast—to debate what to do about male sexual predators. Doing nothing is not an option in this unique and unforgettable landmark in the making.

You’ve never seen a Pinocchio like this one, a funny, touching and vital masterpiece from del Toro that uses stop-motion animation to create a world of beauty and terror to get lost in. The Oscar for best animated feature belongs right here.