The new and final “Downton Abbey” film — oozing in charm and mystery — opens Friday — Thursday in previews — and if it’s not a massive hit, I’d be surprised.

For anyone who watched the series or the first two movies, this is the cherry on top of the sundae. Creator Julian Fellowes and director Simon Curtis have crafted a significant and rewarding ending so good that — like the woman who sat in front of me last night at the premiere — will have you carrying a necessary box of tissues.

Fellowes, who wrote all the seasons of the TV show and the two movies, pulls out all the stops with “The Grand Finale,” which is full of humor and pathos but is also an intimate look at all kinds of families, chosen or natural, as well as the passing of generations.

It’s time, too: “Downton” has been going for 16 years in our culture. In the show, everything begins in April 1912, when the Titanic sank, taking with it the Downton heirs. With them gone, the power and money shifted to another Crawley cousin, Matthew. His arrival — with his mother — changed everything for the Downton family.

Now it’s 1930. The family matriarch, Violet, played so memorably by Maggie Smith is gone. The stock market crash has changed everyone’s fortunes, and it’s no longer reasonable to expect the great castles to keep going in a changed economy.

Fellowes lays it all out in a finely tuned screenplay. He imbues his characters — especially the younger ones — with enough prescience to be aware that their royal life is undergoing a seachange. The discussion now is how Lord and Lady Grantham — Hugh Bonneville and Elizabeth McGovern — will cede their roles at Downton to their daughter, Lady Mary — Michelle Dockery.

Almost all of the “Downton” gang is back (although MIA is Robert’s sister, Rosalind) and Fellowes gives each of them lots of individual moments. We even get a devilish American conman in Alessandro Nivola, who thinks he can seduce the Granthams into giving up their fortune. He comes to town with Paul Giamatti, as Cora’s ne’er do well brother, who’s squandered his own family’s money. The pair nearly steal the show.

Fellowes draws on the show’s rich well of history, too, so there’s even a reference to when Smith’s Countess Dowager first learned the term “week-end.” There are other Easter eggs, too, like the time a Turkish prince was sexed up so much he died in Lady Mary’s bed. There are also clever references to movie making itself, thanks to Mr. Moseley, who has gone from footman to successful screenwriter.

Fellowes, by now, has a PhD in class relations. There’s a wordless scene in which Robert, returning from the Downton farms, passes Mr. Mason, a tenant farmer, on a bridge. Even though they know everyone in common, and once had business, they only very slightly acknowledge each other. The moment, which Fellowes created on purpose, sums up the whole saga.

“The Grand Finale” is sumptuous on every level, from costumes to cinematography. Quite a bit of time is spent recreating London from 1930, which isn’t too hard considering the city still looks the same. The film opens with everyone going to the West End to see a play and the dine at the Ivy. You’ll feel like you were there.

But yes, get out the hankies. The last 20 minutes are full of lump-in-your throat moments that feel organic and signal that this is it, we must say goodbye, knowing everyone will be all right no matter what comes next.

Four stars.

LOL.

The likely Best Picture for next March’s Oscars has likely been found.

“One Battle After Another,” directed by “Boogie Nights” helmer Paul Thomas Anderson, opens September 26th.

Last night, the Warner Brothers release had a premiere in Los Angeles. They filled up the gigantic Chinese theater on Sunset Boulevard. No less than Steven Spielberg interviewed PTA on stage and raved about the film.

Reviews are improbably embargoed until September 17th. Social media posts were allowed to start posting last night. Film Twitter, as we call it, exploded.

I was lucky to see “One Battle” — which stars Leonardo DiCaprio and Sean Penn — on Friday morning last week.

Last night, I posted to Twitter: “Warner Bros caps off an incredible year with a sensational adaptation of a gonzo Thomas Pynchon novel by Paul Thomas Anderson. One Battle After Another is thrilling funny, and insightful. DiCaprio and Penn are sublime. So is Jonny Greenwood score. This is big, kids, no kidding”

I wasn’t alone. Every post is glowing. PTA adapted the legendary novelist Thomas Pynchon’s novel, “Vineland” for “One Battle.” But instead of a direct transfer, Anderson really took its essence and some of the basic plot and reworked it even changing all the characters’ names. He also gave the screenplay structure that the book didn’t have, unlike his last Pynchon adaptation, “Inherent Vice” (which I like to call “Incoherent Vice”).

So we can post a formal review until the 17th. It’s going be a stealth whisper campaign until then to pique the interest of movie goers. I saw “One Battle” on IMAX, which is recommended. In a few places you can see it was it meant be, on 70MM. PTA shot in VistaVision, a wide screen format rarely seen anymore.

Besides DiCaprio and Sean Penn, the cast includes a sensational newcomer Chase Infiniti, plus a supporting cast that includes Teyana Taylor, Benicio del Toro, and Regina Hall. The soundtrack is from Jonny Greenwood, as I said in the Twitter post, and it’s a knockout.

All of these people are headed to awards podiums this winter. And unlike with some previous Best Picture winners with hot dog fingers, this one will be celebrated by everyone.

“One Battle” is a drama with a lot of comedy. But while you’re waiting, you can rent/stream Sidney Lumet’s wonderful “Running on Empty” from a long time ago to get the flavor of it in advance. You can also listen to Gil Scot-Heron’s “The Revolution Will Not Be Televised” on Spotify, or watch “Green Acres” for fun on MeTV.