Brian Lowry

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.