Alonso Duralde

While this sassy cyborg with the deadpan baby voice remains a brilliant comic creation, the movie’s messaging is muddled. For all of the laughs and thrills, we’re left with a satire about technology that still wants to play nice with AI.

While director Andrews, most known for his stage work, doesn’t always know how to lift this story beyond banal biopic choices, he’s certainly tapped into something special with Stewart, who continues to reveal new layers with each film.

For a comedy set around one epic catastrophe of a rotten day, this wisp of a farce feels strangely chaos-deficient.

Lister-Jones is clearly focused on character, and less so on genre conventions, so “The Craft: Legacy” could turn off some of the first movie’s fan base while simultaneously bringing new fans into the fold. As far as franchise revivals go, this one’s got the right elements.

Camp X-Ray never makes the bond between this particular woman and this particular prisoner feel genuine or organic. Their relationship (platonic, obviously) smacks more of screenwriter contrivance than of two put-upon souls finding each other under duress.

It’s only in assuming that we care more about Boogie’s athletic journey than his interpersonal relationships that the film falls short.

Cocaine Bear is a thrilling binge of adrenaline that you won’t regret in the morning.

It’s the absence of Lawrence — or at least of any young performer matching her charisma — that’s a key part of the problem here.

Overall, The Little Things — which is how Deke refers to the details that lead to killers being caught — isn’t much of anything.

The film’s intentions are unquestionably noble, but the execution falls wildly short, even with so many talented artists involved.

Hotel Transylvania 3 always goes for the joke and rarely misses.

Awash in bold colors, bright patterns and ebullient kids, director Ava DuVernay’s new take on A Wrinkle in Time dazzles its way across time and space even if it doesn’t quite stick the landing.

While the film far outshines most of Cage’s recent efforts (he was direct-to-VOD when direct-to-VOD wasn’t cool) in terms of art direction and fearlessly madcap storytelling, the results are nonetheless muddled and messy.

It fills up the uncharted territory between parody and pure fan service with a guileless weirdness that the biopic genre never knew it could accommodate but, in a post–“Walk Hard” world, could stand to emulate.

Reynolds has this drily ironic fourth-wall business down pat, and Savage makes for an entertaining foil.

Abrams certainly knows how to manipulate, but when he does it, you can see the strings. How much or little you enjoy The Rise of Skywalker will rely almost entirely on whether or not you mind that every laugh and tear and jolt feels like it’s coming right off a spreadsheet.

Perhaps the biggest issue for The Mauritanian is that the screenplay by M.B Traven and Rory Haines and Sohrab Noshirvani tries to accommodate too many protagonists.

This remake doesn’t desecrate the memory of that modern classic, but neither does it ever transcend it.

If you have waited your entire life to see this world brought to life, and to watch humans and Pokémon occupy the same space, then Detective Pikachu may well be everything you ever wanted. But for those of us who don’t know a Jigglypuff from a Charizard, this film scores low on wit, coherence and engagement.