This is undoubtedly the messiest film in the Harry Potter canon, and the worst as an actual film.

“Bohemian Rhapsody” is to movies what Queen was to rock music: a mishmash of sentiments and imagery both melodramatic and campy, serious and silly, that shouldn’t work together but somehow do.

The film’s greatest success is its ability to treat its protagonist with humility, especially when that protagonist is a universally adored American hero.

Bradley Cooper, making his directorial debut, displays an unusual maturity and nuance in his depiction of larger-than-life characters.

In most buddy movies, the buddies have redeeming qualities. Not so here: Venom is literally a sociopathic alien hell-bent on eating humans, and Eddie might be even worse.

When playing off each other, Black and Blanchett banter like Cary Grant and Katharine Hepburn. It’s a shame that these two performances are wasted on a movie that also makes room for three different iterations of the same fart joke.

The idea here is that, if Nazis have a chance to tell their side of the story, then they won’t be able to claim they’ve been unfairly represented when they find themselves condemned. This is reasonable logic, but only for someone who’s never dealt with anti-Semitism.

If money were easy to turn down, “Sorry to Bother You” wouldn’t exist. Boots Riley acknowledges that dignity and fair working conditions are worth fighting for, but he also acknowledges that if you can’t pay your rent, you’re almost always going to put the battle off until later.

Pixar has always made movies that were accessible for both kids and adults, but never have they released a film that touched on such heavy topics.

Kormákur delivers one of the great cinematic disaster moments of recent memory, a catastrophe scene executed with such technical finesse and creativity that it would be worth watching the entire film again just for that moment alone.