Brian Lowry

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.

Nomadland is a meticulously crafted little movie, anchored by a star at the top of her game. Yet it's possible to enjoy the film on that level and still come away feeling if the film makes much noise in the awards hunt, it's a sign that this was a relatively weak year.

Me You Madness serves as a reminder that you can clearly try to be funny, and still produce something that turns out to be kind of a joke.

"Ruth" admirably contextualizes Ginsburg's lingering legal influence, and how her writing in dissent during her 27 years as a justice often influenced subsequent opinions from lower courts.

The Mauritanian is a bit of a throwback -- a solid, old-fashioned piece of entertainment, but not a great movie. But in its objective to present what being wrong meant for our view of "American justice" and democracy, that's one thing that the film gets very right.

What's lacking, mostly, is a tighter focus on what is, admittedly, a complicated story to do justice. The issues the film depicts nevertheless resonate on multiple levels, from the current state of race relations to the way the government dealt with this perceived domestic threat, without packing quite the wallop that the material suggests.

Minari is a deeply personal film, and quality that's evident in writer-director Lee Isaac Chung's reminiscence about his childhood. Focusing on a Korean immigrant family, the universal themes come through loud, clear and ultimately with considerable power, even if the movie's languid pace works against it.

Writer-director Sam Levinson spends a good deal of time in Malcolm & Marie complaining about critics, which feels like a boxer leading with his chin. Pairing Zendaya and John David Washington, the movie -- quickly and stealthily shot during the pandemic -- wins points for ingenuity, then loses them with its shrill tone and the uneven hairpin turns of its writing.

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

Supernova is by any measure a modest production, but it accomplishes what it sets out to do: Creating a touching, low-key showcase for its stars, one that allows them to cast a bright light.

Ultimately, The Little Things meanders a bit too much with stakeouts and the drudgery of police work before getting to the meat of its psychological core, which offers a provocative payoff, if not perhaps one good enough to fully justify the journey.

Penguin Bloom is harmless enough as family fare goes, which counts for something, with an inspirational message for these trying times. The real drawback lies in how the story flits around in the telling and seems unable to choose a lane, leaving a movie that feels as if it's neither fish nor fowl.