Christy Lemire

Ethan Hawke attempts to breathe new life into the biopic structure with mixed results in “Wildcat.” What is certain is that he’s drawn a rich and multilayered performance from his daughter, Maya Hawke, in the starring role.

The pieces are all there, but they never really snap into place.

The Secret Life of Pets 2 proves the old adage that you can go to the well — or in this case, the dog bowl — one time too many. And that’s saying something, given that this is only the second film in the series.

It’s more of the same, without any discernible improvement in quality, despite the massive technological leaps over the past two decades.

The wacky New York types with their lack of an internal censor and their wild ideas for what they’d do to the apartment provide a consistent source of laughs.

It lacks both the delicate artistry and warm wit of its predecessors. The subtle sense of spirituality is long gone; in its place are frantic action sequences. Whereas the previous movies operated on various levels to resonate with adults and entertain kids, this one is geared mainly toward younger audiences in ways that are frequently silly and insubstantial.

The performances are really strong, though. That’s what’s so frustrating; you just know there’s a better movie in here waiting to burst free.

The cumulative effect is draining; you’ll walk out of the theater with the feeling that you, too, have gone to war – and an appreciation for those who are brave enough to do so themselves.

Strays is pretty much a one-joke movie, one last romp at the end of summer. But it finds enough ways into that joke within its perfectly pithy running time to remain zippy and enjoyable.

Aïnouz rarely builds tension through these machinations; surprisingly, given what’s at stake, “Firebrand” is often a bit of a slog.

Slapstick mishaps and—ultimately—feel-good triumph of sorts ensue, with plenty of perky training montages in between.

The ways in which the pigeons work wonders as a flock — to the point of becoming playfully weaponized in the name of good — is consistently inspired.

While the suspense that had carried the film for the first two-thirds of its brisk running time dips as it nears its conclusion, Cocaine Bear still emerges as a hell of a high.

“Snow always lands on top” is the longtime credo for Coriolanus and his family. The question of how it falls, and whether it sticks, makes “The Ballad of Songbirds & Snakes” a surprisingly suspenseful prequel.

Hamilton deserves better. So do the other strong women who make up the film’s trio of warriors, fighting to protect each other and all of humanity from technological destruction. Again.

Black and Blue is a B-movie through and through — and that’s actually a compliment.

Various characters populate Person to Person, but they rarely register as actual people. And while some of their storylines intersect throughout the course of a day in New York, they rarely connect in ways that have actual meaning.

With her debut feature, Bang Gang, Eva Husson captures the restless rhythms of adolescence—the push-pull of angst and boredom, of self-consciousness and the yearning to lose oneself completely.

For better and for worse, Bliss truly makes you feel as if you, too, are suffering from a narcotic-induced, hallucinatory freak-out—one that leaves you physically exhausted, mentally spent and ultimately wondering what the hell just happened to you.

The pacing is so zany, the jokes are so rapid-fire and the sight gags are so inspired that it’s impossible not to get caught up in the infectious energy of it all.

It’s sufficiently giddy at first but eventually grows repetitive and wearying, especially as more and more stuff gets blown up real good.

The ending — with its revelation of what these girls were really after all along — is so frustrating, you’re likely to wonder: Is that all there is?

The material meant to beef up this story is so bland and underdeveloped it makes Renfield feel like a sketch concept stretched thin to feature length.

Actually, Muppets From Space doesn't offer much for adults, either. The normally smart, endearing characters can't save this movie, which begins with a flimsy premise. [12 July 1999]

Their many challenges wrap up too neatly, but there are enough genuine moments of truth in Blast Beat to make you wish there were even more.

Ultimately, these shocking and violent sequences become repetitive and gratuitous, making Red Sparrow feel more like a cheap exercise in exploitation than a visceral tale of survival.

Tonally messy and overlong, director Greg Berlanti’s film ultimately squanders the considerable charms of its A-list stars, Scarlett Johansson and Channing Tatum, who are individually appealing but have zero chemistry with each other.

Despite the fact that you’ve heard these songs countless times in a variety of settings, these inspired incarnations will make you feel like you’re experiencing them for the first time, just as Moby Doc as a whole breathes thrilling new life into a safe and conventional genre.