Bob Strauss

It’s a more modest Traffic in several ways, adequate at what it tries to say about this dirty business but light on the wider scope of the suffering that it causes. Because there actually is a crisis, maybe it should be addressed with more of an emphasis on authentic details than on genre conventions.

Does its conclusion make up for the gluten overload that was most of “Rebel Moon”? Well, the series’ not-at-all-original theme is redemption, so that depends on whether you’re in a forgiving mood or sufficiently wowed.

Enola Holmes films are too concerned with chases, romance and flattering their target audience to even consider challenging anyone’s puzzle-solving abilities.

It presents a mostly sympathetic portrait of Mildred Gillars, the American actress who made propaganda radio broadcasts for the Nazis during World War II. Not an impossible task, but a tough one that the best efforts of producer-star Meadow Williams and director Michael Polish couldn’t make persuasive.

It’s Ice Road Truckers with a plot and concentrated, well-staged jeopardy. The film’s vibe is different from the History Channel series, but fans of that show will likely welcome the return of familiar thrills and predicaments.

Well-acted as far as superficial characterizations allow (Costner and Jon Baird share screenplay credit) and impressively mounted for a wide-open-spaces pageant that, quizzically, was not shot in widescreen, “Horizon” is most successful at filling its frames with ambition.

If you’re a millennial, odds are you’ll find “Y2K” amusing. But older and younger age groups will want to stick to their vinyl LPs and Tik Tok videos.

This sometimes clever, outrageously gory and slickly violent horror comedy is more “John Wick” than Tod Browning, and that’s just the tip of its tonal confusion.

The movie is almost all conversations, most of which are intriguing and sensitively structured, with little action. It’s enough, but not worth changing the world for.

A very fine actor when he’s not directing bad “Insidious” sequels, Wilson is the only performer here who extracts conflict, growth and genuine wit out of David Leslie Johnson-McGoldrick’s surface-skimming script.

Though Meg 2 is by far the biggest production he’s ever helmed, director Ben Wheatley doesn’t appear to be in over his head with this; special effects and stunts are proficiently delivered, no matter how ludicrous

Sometimes hilarious and pleasingly intense, “Day the Earth Blew Up” can also be kind of meh. But even when not as clever as its legacy demands, there’s enough of the old aesthetic and eclecticism to make us hope that this ain’t all, folks.

The Rip is another one — efficient for what it is, but if it’s remembered at all it will be for Damon and Affleck’s matching beards and effortless way of appearing at home together onscreen.

Whatever their differences, love is this family’s language, and that’s undeniable throughout “Road Between Us.”

Director David Hackl’s biggest credit is Saw V, and he remains adept at gross torture and keeping a mystery moving. Definitely a B production, Dangerous has aspirations. View that as more of a comfort than a threat.

Kate looks like most other productions from 87North, the company behind such cinematic cage fights as Atomic Blonde and the John Wick films. Honestly, this could have been called “Nuclear Brunette.” But with heart.

Sokolov has cited notable filmmakers like Sergio Leone, Park Chan-wook and Quentin Tarantino as influences, and their inspiration can be seen in the film’s tense standoffs, corridor fights and flashing swordplay, respectively. For all that and some original flourishes, though, this mainly feels like a Radio Silence rehash.

This Statham exercise, like most, is mainly about body count. While that seems to be what his faithful fans want, it just gets kind of tedious for the rest of us.

Not cheesy enough to be fun/bad (the recent loss of Raquel Welch reminds us of what a hoot such junk films like her 1966 “One Million Years B.C.” could be) nor awesome enough to compete with the “Jurassic” movies of the world, this production is an in-betweener whose biggest asset is a tight, 93-minute running time.

Oslo ultimately acknowledges that the Israeli-Palestinian conflict is anything but resolved, and shows why even this first, limited step toward settling it was so immensely difficult. Whether we’re in the mood to find it entertaining right now remains in dispute.

Though Butcher’s Crossing has its share of conflicts and drama, it can move as slowly as the glaciers that cut its imposing scenery.

Even with a script that doesn’t provide much behavioral variety and goes in many wrong directions, Bullock commands the screen with little more than closed lips and wary stares.

While it’s not always as sharp as it could be, the energy in Jolt never falters, and there are definitely amusing bits.

Undergirding it all is a light but ever present tension between living up to the philosophy the men were taught as teenagers and making their way through the realities and compromises of American adulthood. Tran’s not preachy about that, but the filmmaker’s killer move is showing how his heroes’ souls can be as fragile as their aging bones, yet resilient when the situation demands.

That its premise is a fundamentally corny one we’ve seen a million times before is a separate matter, but filmmaker Kuosmanen (“The Happiest Day in the Life of Olli Maki”) and his two lead actors camouflage that well in naturalistic behavior and psychological depth.

While pacing and believability issues in The Pale Blue Eye cannot be overlooked, this finely made period mystery’s virtues should still be savored.

Those who just want to watch a cool, competent and only semi-dumb action movie, though, can thank god for small favors like that.

At the very least, it marks the arrival of a filmmaker with great potential. It also presents a metaphysical vision that’s quite peculiar and not very persuasive if you can’t get on its generous wavelength.