Brian Lowry

Feels profound while still delivering the requisite laughs and fun.

This middling movie, intriguing but oddly incomplete, plays at best like Spielberg Lite.

This Netflix movie actually rises above most of the herd, thanks largely to co-writer and co-star Brett Goldstein.

There’s a Saturday-matinee-type unpretentiousness about the film that doesn’t really aspire to much more than letting the audience have a good time.

A near-irresistible and highly emotional adaptation of Shelby Van Pelt’s bestselling novel.

Those involved are smart enough to recognize what people really want is the warm tidings of a stylish reunion, and in terms of navigating that narrow runway, the movie mostly delivers.

A coming-of-age tale that, without breaking new ground, ranks high among recent entries in its well-worn genre.

Ryan Gosling and a faceless rock creature forge an unlikely bromance in an adaptation of Andy Weir’s novel that manages to be alternately touching, stirring and silly.

Hoppers certainly has the vibrant feel of a plush-toy merchandising bonanza waiting to happen.

An extremely down-to-earth, character-driven heist movie that in the best ways resembles similar fare from the 1990s.

At times the film feels like “Black Mirror” on peyote.

“Uncut Gems” gets a spiritual sequel.

The third installment in Rian Johnson’s still-entertaining spin on Agatha Christie for our times exhibits signs of yielding diminishing returns.

"Wicked” should be considered as one sweeping, five-hour canvas. And if the slightly shorter second half doesn’t fully measure up to the original, that does little to detract from director Jon M. Chu’s overall accomplishment.

It’s a very different spotlight that falls on The Boss with “Springsteen: Deliver Me From Nowhere,” a deeply personal film about both his artistic integrity and inner demons.

Like its predecessors, Deadpool & Wolverine is loud, proudly vulgar and repeatedly shatters the fourth wall with gleeful naughtiness. Yet beneath the outlandishness, half-dozen belly laughs and nerd-centric beats resides sweet nostalgia for the last quarter-century of superhero movies, while demonstrating that Marvel Studios possesses the power to laugh at itself.

Sorry/Not Sorry takes issue with both the supposition that nobody was really victimized by Louis C.K.’s actions and the mentality of first looking the other way amid what the comic initially dismissed as “rumors,” then welcoming him back.

Perhaps foremost, “Faye” allows its subject to be, or at least appear, as big, complicated and multifaceted as her life and career, in both the highs and lows, would suggest.

Less than weighty in the comedy part of its equation, the film largely works as a vehicle for Scarlett Johansson and Channing Tatum, even without completely sticking the landing.

West mixes some wit in with the gore here, even if the payoff, alas, doesn’t rise to the level of the buildup. By then, though, “MaXXXine” has delivered enough nostalgia regarding its genre to merit a walk down its alleys, and not incidentally, the showcase and sendoff that Goth’s character deserves.

The latest film begins from a slightly unexpected premise, but then efficiently spins it to yield additional horror while giving theater-goers every reason to keep their mouths shut.

Like his trademark bandanas, “Disciple” wears its soul, and its love for the music these artists created, brightly displayed where all the world can see it.

Whatever one’s age, there’s much to like in a movie that offers the requisite laughs and sweetness, while managing to feel quite profound.

Hit Man is as much a quirky romance as a thriller, juggling its mix of whimsy and suspense deftly enough, especially down the closing stretch.

“The Great Lillian Hall” operates as a love letter to the theater while catering to those who can appreciate an “All About Eve” reference or two.

A particularly rich Disney+ documentary that captures the man as well as the ideas that will ensure him a kind of immortality.

Young Woman and the Sea is an exercise in the simple power of a well-told story, the kind that can wash over and uplift you all at once.

Forty-five years after “Mad Max” introduced many to a young Aussie named Mel Gibson, Miller certainly hasn’t lost his touch as a visual stylist and mad maestro of elaborate action. In almost every other respect, this feels like one of those instances where there’s more sound than “Fury.”