Brian Lowry

Spiral, however, doesn't chart its own course as much as simply try to have it both ways. And if the title implies a certain motion, the main direction the movie heads is essentially down the drain.

While this might represent a diverting lark in its dizzying combination of movie conventions, this is another one of those instances where what happens in Vegas probably should stay there.

Oxygen won't quite leave you breathless, but it should leave you thinking -- and surprised. For this sort of movie, that's perhaps the most precious fuel of all.

As thin star showcases go, it's an occasionally effective bit of comfort food, arriving as theaters reopen and served with a generous side of schmaltz.

Ultimately, though, the movie feels most notable for the cast assembled, from Harrison -- who subsequently starred in "Waves" and "Luce," and is again very good here -- to smallish roles for Jerome (an Emmy winner for "When They See Us") as a witness and Washington ("Tenet" and "BlacKkKlansman") as James' partner in crime.

Taken on its terms, the movie isn't terrible strictly as mindless escapism. But beyond the most basic, visceral thrills, Wrath of Man's bitter fruit yields a slim harvest.

Oyelowo's film delivers its simple message to appreciate the people you love ably enough, without leaving the intended ripples in its wake.

Unfortunately, Four Good Days doesn't really give anyone beyond its central duo anything much to do, and even they're largely saddled with trying to class up the equivalent of a Lifetime movie.

Whatever the intricacies in Clancy's book, they're largely abandoned in a violent revenge tale that a few decades ago might have starred someone like Steven Seagal.

Mortal Kombat is within its rights taking the material semi-seriously, but does so by taking itself a little too seriously, given the rote nature of translating the game -- whatever its ongoing popularity in that form -- to the screen.

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.

A comedic dud that's aptly titled, since it makes loud noises without really needing to be seen. The one thing unlikely to be heard during this Netflix superhero spoof is a whole lot of laughter.

After a lengthy buildup, this "thrilla" in the "MonsterVerse" -- for anyone with even modest expectations -- qualifies as a pretty sizable letdown.

"Tina" is that rare documentary that leaves you craving an encore, as if two hours weren't quite enough to do Tina Turner's life and career justice. Weaving in a new interview with the 81-year-old icon, the footage then and now underlines the impression of Turner as a force of nature, rocking and rolling with and without Ike.

Anyone with a taste for Cold War dramas will find an intriguing addition to their cinematic library with The Courier, a fact-based story featuring Benedict Cumberbatch as a Hitchcockian everyman who becomes the unlikely conduit to a Soviet leaker of secrets in 1960. It's the kind of historical tale that, after the closing crawl, will likely send more than a few viewers running to Google to read more.

Despite the can't-miss subject matter, Operation Varsity Blues: The College Admissions Scandal makes a near-fatal misstep, heavily using dramatic recreations in a way that leaves this Netflix production somewhere between Lifetime movie and documentary. The salacious aspects of the scandal still earn a passing grade, but due to the unwieldy hybrid format, just barely.

It's a fascinating exercise and superior to its predecessor, but clocking in at four hours, the operatic highs are somewhat offset by the lack of any pressure to say "cut."

Long Live Rock finally feels like an ode to this tribal art form that doesn't possess much appeal, despite its intentions, to those outside the tribe.

The destination, frankly, is probably less compelling than the journey. But Frye's wide web of contacts offers a compelling window into not only her past, but the very specific cultural moment when it all unfolded.

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."

For those craving an action distraction, it's a reasonably entertaining way to kill time.

This very nostalgic, mildly entertaining movie possesses a rather timely undercurrent, even if its delivery via Amazon -- like most issues facing Zamunda's royal family -- amounts to a high-class problem.

Late twists ratchet up the drama, but also make the movie feel as it has rushed toward a resolution.

A warmed-over collection of cinematic cliches that misses its shot what could have been a fertile premise, in don't-quit-your-day-job fashion.

The tragedy associated with such stories could provide fertile territory, theoretically, for a good drama about what went wrong and who's ultimately responsible. That movie might get made someday, but Crisis isn't it.

Thanks to the power of the subject matter and Day's knockout performance, The United States vs. Billie Holiday is worth seeing. But the film is generally at its best when watching, and listening to, the lady sing.

The Father isn't a picnic to watch, but it is -- somewhat ironically, given Anthony's condition -- a movie, and performance, that's hard to forget.

Tom Holland's kinetic performance is impressive, but it's in the service of an uneven film that too self-consciously works at mirroring the form of a novel.