Brian Truitt

While teenage star Mckenna Grace infuses the aging property with a needed burst of youthful energy, co-writer/director Jason Reitman (son of original filmmaker Ivan Reitman) is more interested in looking backward with the sequel, leaning way too hard on old characters, story beats, plot points and zingers.

While the narrative doesn’t totally land, the voice cast is solid and the vibe is consistently joyous.

Boldly filmed in black-and-white, Branagh wrings a heartfelt narrative from a superb cast, though the story stumbles somewhat when it strays from its youthful focal point.

"BOOM!” is an entertaining, heart-filling work that showcases two musical geniuses, putting a new spotlight on Larson’s musical legacy and giving Miranda another endeavor to gift us with his unparalleled artistry.

With a pair of Hollywood gunslingers, a few solid twists and plenty of bullets, The Harder They Fall is a shoot-’em-up to remember.

It’s a ghost story but also an underdog’s story, a fighter’s story, a mother’s story and, thanks to an Oscar-ready Stewart at the absolute top of her game, one of the very best movies you’ll see this year.

Zhao understands the larger assignment, as the epic sets the stage for future MCU intrigue. Her attention to detail and eye for design does wonders, even if by the end it all feels like an eternal chore.

Like most anthologies, some segments are better than others but they all highlight different inspirations Anderson’s woven together for a delightful cinematic sampler.

In picking up exactly where the last one left off three years ago, Kills separates its two key main characters, and not for the better. It just seems like a filler chapter before another main event, albeit with nasty kills, mythos building and cool references.

Amid seriously high stakes, Craig makes you root for Bond like never before in a swan song that’ll leave die-hards shaken, if not stirred.

The movie version is simply a poor adaptation, trading the vibrancy and refreshing spirit of the original show for all-too-familiar teen-movie angst, with an out of place leading man.

Entertaining and surprisingly funny given the subject matter, the movie’s also an exquisitely acted affair paced by Chastain (who also produces), turning in a career-best effort as the complex Tammy Faye.

The sci-fi epic Dune boasts a few films’ worth of giant sandworms, amazing spaceships, cosmic armies and galactic political drama, though it essentially is only half a movie.

Hide your mirrors and look out for bees: Candyman has returned, more relevant and terrifying than ever.

As the debuting title superhero and a new champ for representation, Liu exudes likability, swagger and depth – plus forms a great buddy-action combo with co-star Awkwafina – and “Shang-Chi” really cooks when he’s in a street-fighting groove. However, director/co-writer Destin Daniel Cretton’s ambitious adventure loses some of that storytelling momentum when diving into its involved mythology.

Given the chilling mood Bruckner strikes and dark corners he unearths, horror fans will want to spend some time in this Night House even if it’s not worth a long-term investment.

The fantastic, funny and heartfelt dramedy CODA doesn’t astound by breaking the mold of teen romances and coming-of-age tales. Instead, its brilliance lies in combining these well-tread tropes with an important sense of inclusion for a sweet story that truly sings.

Similar to other recent musical biopic vehicles like Judy and The United States vs. Billie Holiday, Respect never reaches the greatness of its shining star.

Free Guy is a big, warm hug of a movie with plenty to love, even if you’re not super into bubble gum ice cream, swing sets and vintage Mariah Carey like Ryan Reynolds' goodhearted title character.

Annette attempts to be an avant-garde rock opera, a farce about modern star culture and a tragic family drama all in one bizarre, head-scratching concoction, and not even a revved-up Driver or songs by the cult art-pop group Sparks can lift the film to its lofty aims.

So it seems lightning has struck again, this time in the DC universe where the most successful movies thus far have played it safe. That’s never been Gunn’s game, thankfully, and certainly isn’t here. Anyway, who needs Batman around when you’ve got Starro the Conqueror?

While those parents who grew up with Indy and Romancing the Stone might have seen a lot of this stuff before, it’s right in the wheelhouse for movie-loving youngsters not quite ready to watch Nazis’ faces melt in "Raiders." For those kiddos, Johnson’s big lug and Blunt’s eager explorer offer an enjoyable welcome to the “Jungle.”

Several heads roll though it’s your mind that'll get truly blown by The Green Knight, a visually dazzling and thoughtful trip back to Camelot.

Pretty much everybody is kung fu fighting in “Snake Eyes,” a satisfying martial-arts action-adventure with two magnetic leads, a heap of lightning-quick swordplay and the best argument yet for a G.I. Joe cinematic universe.

The new edition is comparatively an air ball: It’s less a family-friendly film with a hoops legend and more a crassly referential love letter to all things Warner Bros.

Oftentimes, the original book is better than its movie version. And while King’s tweetstorm is an infamous Homeric odyssey in the world of 280 characters, Zola is a solid spin, vividly capturing a stripper saga that would have been harrowing to live through, but is fun to sit back and witness.

Marvel’s Black Widow is a strong solo superhero effort that feels both timely and also way too late.

These movies are best when marrying James Bond high jinks with their longtime emphasis on the strength of family, plus a serving of macho philosophy on the side. F9 tries to goose that template exponentially with soap opera and a greatest-hits package to craft the ultimate "Fast and Furious" movie, instead succeeding at making one that's merely fine.