Brian Lowry

A full-throttled, technically superb adventure — with more bite than most Disney live-action fare — that offers some winning moments but, ultimately, isn’t as involving as it needs to be.

More an examination of human nature than a thriller, the space-faring movie deals with weighty issues but doesn't possess much pizzazz or gravity, making Netflix the logical home for its launch.

This is, admittedly, a strange time related to how and where people will wind up consuming this type of small-boned movie, but there's always room for another good one. "Let Him Go" might not be super, but it's definitely a trip worth taking.

Mostly, the documentary premiering on Amazon serves as a social-studies lesson in how campaigns operate, with the most candid moments coming from those other than the candidate.

“Scoop” juggles so many timely balls it’s a bit of a shame the film doesn’t accomplish that task with more dexterity.

Landing on Netflix, it’s not terrible, but by the time the credits roll it’s pretty clear why it landed directly on Netflix.

Yet even with its ribald laughs and spectacular action sequences (clearly seeking to up the ante on the latter front), the movie gets mired in a comedic midsection that wears the audience down, sapping their energy before the film shifts to a chaotic third act that just doesn't know when to quit.

“A Haunting in Venice” continues a brand of breezy entertainment that suggests whatever the detective’s goals, retirement doesn’t appear to be in the cards.

While ‘Resurrections’ again offers a choice between the red pill and blue pill, the one thing that won't be necessary -- especially for those choosing the home-viewing option -- is a sleeping pill.

Placing a trans teen at its center adds some heft to material that would in an earlier era would have been presented as an after-school special, but the uplifting and timely messaging can’t completely elevate this earnest but thin Amazon movie.

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.

Call Jane is a good example of how a few questionable choices can muddle an otherwise-powerful story, with the recent HBO documentary version of these events, “The Janes,” outshining this fictionalized dramatic account. The portrait of an underground abortion network pre-Roe v. Wade is obviously timely, but its slightly askew focus blunts the overall impact.

Strip out Deception's fleeting nudity and what's left is a throwback to "B" movie days -- a thin thriller, burdened by clunky dialogue and prone to telegraphing its twists.

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.

Pitched toward the youngest of kids -- roughly ages zygote to 4 -- with direct-to-video quality animation, plotting and backgrounds.

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

“Axel F” only turns up the heat to a low simmer, but as breezy escapism goes, those armed with the proper attitude might find themselves doing the neutron dance, or a version of it, all over again.

Not Okay isn’t the kind of movie that’s going to amass a vast audience (hence its debut via Hulu), but it is one of those of-the-moment ideas that makes you take inventory of where we are, and the manipulation that can play into who commands the spotlight.

Dumbo achieves a minor miracle, taking a challenging animated classic and completely refashioning it into an effective, often-charming live-action movie.

Free Guy is a cleverly programmed wedding of star (Ryan Reynolds) and subject matter, in a movie that's silly, handsome-looking and a great deal of fun, in roughly inverse proportion to how much one sweats the details. Traveling inside videogames doesn't always end well cinematically, but this "Guy" braves that familiar scenario and comes out ahead.

Sly possesses value as a pop-culture record, letting an influential talent tell their story to those weaned on their work. Compared to the best of that fertile genre, though, it’s more of a lightweight than a genuine contender.

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.

Even in a boom time for musical profiles, this HBO presentation shines brighter than most.

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.

The story certainly doesn’t break new ground, and given the modest nature of the movie, there’s a bit of impatience to get where it’s going; still, thanks to Snook and LaTorre’s beyond-her-years performance it’s never less than watchable.

Tapping into the twin markets of A) lovers of rom-coms and B) recovering English majors, “Rosaline” promotes a fleetingly mentioned “Romeo and Juliet” character front and center, then builds a very clever and breezy movie around her. The result is a welcome starring showcase for Kaitlyn Dever more likely to prosper in the hamlet of Hulu than it would have fared in the province of theaters.

Some of the elements in “Secret Headquarters” are mildly pleasant, but the film seems too content to color completely within the lines. The resulting picture might be enough of a diversion for younger kids, but even they won’t be missing much if what’s in the movie stays secret.

A 197-minute epic that piles on breathless rescues and battles in a manner whose ultimate goal seems to be exhaustion as an artistic choice, if not outright “Kneel before Zod” submission.