Brian Lowry

The Neil Simon script evolves a series of increasingly intimate and sensitive character encounters as the adults progress from mutual hostility to an enduring love. Performances by Dreyfuss, Mason and Cummings are all great, and the many supporting bits are filled admirably.

Mulan is big, sumptuous entertainment. It's good, but not great, transforming the story associated with the 1998 animated musical into a song-free, live-action movie that's more adequate than transcendent -- a perfectly reasonable family-viewing investment that's worth seeing, but not necessarily a must-buy.

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

Wolfgang nicely demonstrates how its namesake fundamentally impacted the world of cooking – and especially how high-end food is perceived – while carving out a pretty sweet life for himself in the process. For that alone it’s worth watching, even if, as documentaries go, it’s less a main course than an appetizer.

So "The Family Stone" becomes "The Family Rodriguez," and to their credit, the able performers wring as much mileage as they can from such familiar material.

“Uncut Gems” gets a spiritual sequel.

Power makes an intellectual argument, but it’s built on a visceral foundation, purposefully bleeding from past generations into the current one.

What really defines the film is meeting the title character's other "family," whose members are equal parts colorfully eccentric and lethal.

Directed by actor and documentarian Fisher Stevens, "Palmer" certainly doesn't break any ground, but its simple story is sensitively told.

Part French sex comedy, part “American Pie”-like coming-of-age story, this raunchy vehicle for Jennifer Lawrence also possesses darker and deeper streaks that elevate it above its “Pretty. Awkward.” posters.

Slow to start, the movie taps into a genre of “What’s behind the curtain?” paranoia that’s provocative, if a little slim on detail.

There's some gorgeous imagery along the way, and a strong payoff after what amounts to the episodic nature of Raya's journey. But the film feels too conspicuously like a work by committee than one of inspiration (the film credits four directors or co-directors, and 10 names as having contributed to the story), missing the spark that has characterized the studio's best animated fare, including Pixar's recent "Soul."

Wish doesn’t quite reach the stars, but it does shine intermittently while introducing another plucky teenage female heroine, gamely voiced by Ariana DeBose.

Offering a weird mix of over-the-top violence and dark humor, Gunpowder Milkshake weds the spaghetti western with the colorful visuals of anime, enhancing that with an inordinately good cast for such a silly movie. The net result provides considerable fun.

The film has an old-fashioned “B movie” vibe, which, for a project headed straight to Netflix, is almost exactly as it should be. As for the feminist message wrapped into the premise, it’s merely further evidence that Brown, at the ripe old age of 20, looks like a boss both on screen and off.

Thanks to its simple construction, Wolfgang Petersen's large-scale liner moves reasonably well, though anyone with the faintest memory of its 1972 predecessor will wonder where most of the plot went.

Best enjoyed (a la the "Mission: Impossible" franchise) by simply admiring the explosions and silliness without dwelling too much on the skeletal plot.

Unlike most TV-to-movie transitions, Mann returns to his roots and delivers what amounts to a slightly overblown episode, brimming with style and characteristically short on substance.

While director Guy Ritchie's excesses and modern concessions -- among them a lot of explosions -- remain intact, the parts of this second "Sherlock Holmes" are considerably more rewarding.

Jungle Cruise delivers about as ably as it possibly could, creating a light-hearted adventure that owes as much to “The Mummy” as anything in Disney’s fleet.

A polished and satisfying film, yet one that conspicuously feels even more like a consumer product than most Disney revivals of its animated classics.

"Dark Fate" earns its favorable judgment by cleverly and effectively adding to that legacy. The only drawback is that accomplishment merely makes it more likely that in one form or another, sooner or later, yep, they'll be back.

The images of the US turned into a war-torn country provides a sobering dystopian backdrop for an action movie that works on that level, without lingering in the mind as long as it could or should have.

Features strong performances and a solid story, drawn from the familiar well of faceless corporations grinding ordinary people through their profit-making machinery. Yet Gilroy's fidelity to his script comes at the expense of the pacing.

No Sudden Move fares better with the quirky, unpredictable nature of the characters, the impeccable period touches -- from the overall look to the music -- and disarmingly witty bits of dialogue.

Trevor: The Musical can't help but feel partly encumbered by the "important" label, bringing lessons about self-acceptance to Disney+, whose parent company has been a ripe target for controversy. Yet this filmed version of the off-Broadway show works as a triumph for the young cast and especially the relatable lead, powering past its lesser aspects with infectious energy and a touching message.

There's nary a note of surprise to be found, but the heroism and man-dog bond carry the movie along.

It's an intense experience, one whose focus is undeniably stirring but which leaves certain aspects of Blair's life and resume somewhat underdeveloped.

Moss, whose gift for speaking volumes with purposeful stares is well-documented on "The Handmaid's Tale," perfectly captures the sense of invasion Cecelia feels, and at first, helplessness. Her growing strength, in the face of such an overwhelming threat, is the movie's most empowering element.

Granted, the overall exercise feels more efficient than inspired, but there’s something to be said for that sort of workmanlike ethic in an old-fashioned “B” movie fashion. Those attributes don’t necessarily merit rushing out to buy a ticket, but wherever and whenever one ends up boarding this flight, taken on its terms, it’s not a bad trip.

To its credit, this two hour, 43-minute movie (thus making the title a bit of a lie) assiduously builds on everything that the recent Bond movies have established, in a way earlier incarnations generally didn't. That has deepened the character, allowing Bond to experience grief, loss and love without hitting the reset button, the recurrence of the villainous Blofeld notwithstanding.

It is, frankly, a lot to absorb — and would risk crumbling under the weight of Lee’s ambition were it not for the second gut punch to the region that BP’s horrifying blunder delivered.

Deftly cutting between the past and the present, director Taylor Hackford manages to establish a compelling mood and pace even though the pic lacks a thriller's true "Aha!" moment

Pixar's enviable track record with original animation is a mixed blessing, creating sky-high expectations for each new movie. Onward, an undeniably emotional and imaginative concept, joins that rich tradition, without reaching the upper rungs of the ladder set by its predecessors.

Crisp and efficient, with the occasional clunky moments, Parker also shows off Jennifer Lopez (literally) to good effect, while mostly squandering the rest of its first-rate cast.

The Equalizer 3 might not be totally convincing as a “final” anything; still, the latest outing does have the benefit of feeling like it reaches a nice point at which to close the books for now on Robert McCall, all things, you know, being equal.

"Where'd You Go, Bernadette" offers a solid showcase for Cate Blanchett, in a movie that's notably slight, but finally sweet and touching.

The Many Saints of Newark turns out to be a credible and rewarding film. But with a bit more seasoning and time in the oven, like its HBO predecessor, it actually might have risen into a truly sensational TV show.

The film makes a sobering point about the danger of rushing to judgment and trial by media, but undermines that with its ham-handed approach to key parts of the story.

Bigger, louder and considerably less charming than its predecessor…Still, there are enough crowd-pleasing moments amid the frenetic action.

Barring a few lapses, the gags fly by in rapid-fire fashion, and enough of them connect -- thanks in part to the amusing mix of Hill's hang-dog demeanor with Brand's lanky, relentless hedonism.

Provides a stellar showcase for its actors, especially Jim Parsons as the central provocateur.

The Proposal won't catch any bouquets for originality, but in terms of a bended-knee pitch for the affections of women -- including Ryan Reynolds’ boyish charms, a hip granny and even a beyond-adorable puppy -- this romantic comedy pretty much pulls out all the stops.

The Trial of the Chicago 7 feels timely in an at-times jolting way, with images of chaos in the streets and angry crowds chanting "The whole world is watching." At its core, though, writer-director Aaron Sorkin takes the "trial" part to heart, leading to a largely courtroom-bound affair that -- while entertaining and splendidly cast -- at its best echoes his early triumph with "A Few Good Men."

"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.

A sweet if slight love story.

Sure, it’s another throwback intended to wring value out of nostalgia, but one executed with a level of relentless silliness that, like its “stars,” won’t ever be accused of over-thinking things.

Offers some of the same breezy charm as its environs.

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.

Nobody should expect too much of a movie in this genre released on Valentine’s Day, and grading on that curve, Players happily punches above its weight class and exceeds expectations.

The main drawback to A Beautiful Day in the Neighborhood -- directed by Marielle Heller ("Can You Ever Forgive Me?"), from a script by Micah Fitzerman-Blue and Noah Harpster -- is that it tends to leave you craving more about Fred Rogers, and less about Lloyd.

The idea of a nasty Christmas movie is nothing new, but Violent Night still manages to deliver the goods, mixing “Die Hard” and “Rambo”-style action with a fair amount of hokey ho-ho-hokum. David Harbour makes a particularly good cranky, butt-kicking Santa, in a movie that offers the sort of shared experience that should bring theaters some much-needed cheer.

With Hugh Jackman and Allison Janney as a can't-miss combination, Bad Education joins a juicy true story somewhere in the middle, drags before getting into the meat of it, and then rallies solidly in the second half. While smaller in tone and topic than most HBO movies, it's a solid exploration of greed and corruption, where the ultimate hero is, of all things, a teenage journalist.

While the movie doesn't wholly succeed, there's enough to like here -- including Channing Tatum's credible performance as a tradition-bound Roman soldier.

“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.

There's a nice chemistry between Mac and Samuel L. Jackson in this latest variant of the road movie, which contains comedic elements but actually works better as a drama.

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

A familiar but very nicely done coming-of-age story.

“Doctor Strange in the Multiverse of Madness” might be the most insanely Marvel movie ever, for good and ill. Unleashing the infinite possibilities of the multiverse throws open the studio’s toybox, but the anything-goes aspects of that can be alternately thrilling, disorienting and occasionally, a little silly. All told, this sequel proves highly entertaining, if not quite worthy of the pent-up demand for it.

Thriller 40 consciously and effectively brings the focus back to the music and the thrills he delivered as a performer. As for the ability to keep the rest of his story at bay while watching it, that will likely depend on one’s level of Jackson fandom.

A dual attempt to breathe life into the vampire and haunted-house genres, “Abigail” could have been called “Don’t Tell Mom the Kid I’m Babysitting’s Dead.” The simple premise, however, turns into an effective little horror movie, a bit strained toward the end, but until then a clever and inventive take on six people literally just trying to make it through the night.

At a time when journalism is often under siege, there’s value in displaying its noblest qualities and loftiest aspirations. Even with hiccups and quibbles, She Said achieves that central mission.

Periodic bursts of cleverness brighten the festivities, but they're too few and far between, and the trademark humor that appeals to adults and kids often misfires.

Given the enduring fascination with such material, underscored by all the recent productions about Jeffrey Dahmer and Ted Bundy, this is one of those stories that seems ripe for a redo. Because even with the uncertainty the one thing “Boston Strangler” makes clear – 55 years after the previous movie – is that when it comes to true crime, some things never go out of style.

The inherent contradiction in Becoming, Netflix's documentary about Michelle Obama, is repeatedly articulated by the former First Lady herself: How can someone reclaim a semblance of a normal life when you are one of the world's most recognizable figures? The latest project under the Obamas' Netflix production deal doesn't fully answer that riddle, but it's an interesting contemplation of the question.