Alonso Duralde

Red Notice plays like a parody of itself — a star-studded, globe-trotting heist caper replete with MacGuffins, twists, and double-crosses. And for much of its overstuffed two-hour runtime, it gets away with it.

Apart from the pleasurable specifics of Hanks’ and Landry Jones’ performances (to say nothing of Seamus, the film’s scene-stealing canine co-star), you’ve seen all this before.

Fever Dream delivers its jolts with a whisper and not a scream, and its enigmatic final shot vibrates with a deep sense of dread, one that won’t leave after the lights come up.

The rom-com veneer acts as the sugar that lets the film’s more serious medicine go down, and Schrader understands this territory well.

It’s all too rare that audiences are treated to a big-screen examination of a woman’s inner turmoil, let alone a woman in the grandmotherly phase of her life; this one pops with both acrid wit and meaningful drama.

What some might find dramatically unsatisfying about the film’s climax directly comments on the inequities of the era and the limited options offered to women, and there’s no shortage of rich storytelling, acting, and visual potency leading up to it.

There are, of course, countless prisms through which to examine the events of 9/11 and their lingering impact, but Come From Away offers one that is stirring and funny, moving but never mawkish. It’s a story that provides hope without turning its eyes from despair.

While it might not be as revolutionary as its subject, Julia celebrates not only the woman but also her joy and passion for the creation and consumption of delicious food. Just be warned: It’s not a film to watch on an empty stomach.

The Suicide Squad is by no means perfect, but like the “Deadpool” movies, it’s a showcase for what can happen when a superhero movie is allowed to be sprightly, self-aware, and sardonic while also indulging in hard-R violence, gore, and language. Gunn’ latest creation is not without moments that drag, but when it pops, it pops brilliantly.

Viewers who, for whatever reason, love the first “Space Jam” may well find themselves delighted all over again, but as a once-in-a-lifetime opportunity to plunge a beloved sports figure into a century’s worth of pop culture iconography, “A New Legacy” is a big fat airball.

Black Widow reminds us of the pleasure that can be offered by an MCU movie that isn’t having to do the legwork of setting up the next five chapters.

The Ice Road is so often inept and heavy-handed that not even the reliable presence of Liam Neeson can rescue it.

If a movie’s going to take us to “Chinatown,” it needs to come up with a new and different path to get there. Instead, the film revels in its genre trappings, only to grab at gravitas in the last ten minutes with the sudden introduction of historical iniquities into the story.

Luca is sweet and affecting, capturing the bond that strangers can build over a summer, and how that friendship can endure. And like its shape-shifting protagonists, it’s got plenty going on beneath the surface.

The Hitman’s Wife Bodyguard is a comedy with not one legitimate laugh, and an action movie where cars keep blowing up while the A-listers yell at each other, as though that were inherently amusing or entertaining.

Purists may balk, but viewers who think of this less as a reboot of Dodie Harris’ memorable monster and more as a Disney spin on Derek Jarman’s “Jubilee” for gay 8-year-olds will find Cruella to be flashy fun, even at a slightly bloated two-hours-plus running time.

Even people who felt nervous about stepping into a bathtub after “Jaws” might find themselves giving these denizens of the deep the benefit of the doubt, thanks both to Taylor’s decades of advocacy and Aitken’s moving portrait of grace and compassion in and out of the water.

This time, the goals and stakes are more direct, and the overall lean storytelling works in the film’s favor, with each step from every character becoming an occasion for viewers to hold their breath in suspense.

For audiences who want their 2021 return to the multiplex to deliver big, loud, exciting action, F9 makes the cars go fast, jump high, and generally do the impossible. It’s exhilaratingly ridiculous, yes, but it’s also ridiculously exhilarating.

The stakes are high and the danger is always imminent in this straightforward thriller; it never bends the rules of the genre, but it certainly delivers on what it promises.

There’s enough gore, mayhem, and decay in Army of the Dead to make for a satisfying zombie-movie experience, and while it’s the best film Snyder has made since his last “of the Dead,” it’s also one that continually hints at the more satisfying work it might have been.

Amid the excitement — those bugs, a pack of wild horses, a looming forest fire — the film finds room to explore bigger issues, like living life to the fullest even when death is inevitable, and the fact that the toughest-acting kids are often the most vulnerable.

Ritchie’s reunion with leading man Jason Statham delivers the scheming, the shooting, and the swearing that the director’s fans have come to expect, by the bucketload.

Here Today tries hard to be warm and witty and ultimately devastating and poignant, but it remains firmly in the mushy middle of sitcom sentiment, with lessons learned and hugs exchanged and an “aww” from the studio audience.

It handles real-life issues from a place of real compassion and understanding without reducing its characters to mere metaphor.

It’s a stolidly 80s action movie, from its Russian villains to its third-act plot twist that can be seen from space, but it’s lucky to have Michael B. Jordan giving an actual performance in what could have been an even more generic shoot-em-up.

Viewers interested in martial-arts action are bound to find the combat-with-a-C to be lackluster in that way that hand-to-hand fighting tends to be when it gets drowned out by digital effects. More likely to have fun with this latest Mortal Kombat are Sam Raimi enthusiasts who can appreciate the comedy in over-the-top geysers of fake blood, which the film unleashes with increasing regularity as the fights get more serious.

These performances are about more than just literal nudity, of course; both leads strip away the surface layers of the characters — her brisk efficiency, his good-time party vibes — to get at the vulnerability and the complex neuroses of each.