Brian Lowry

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.