Frank Scheck

Harlow makes a surprisingly strong impression in his film acting debut, signaling that more big screen roles are in his future, while Walls provides the requisite simmering intensity and formidable physicality as the anger-prone Kamal.

Twice in the film, giant lumbering objects ricochet through crowded city streets wreaking absolute havoc in their wake. They’re perfect visual metaphors for the movies themselves, so stuffed with over-the-top mayhem and testosterone-packed macho aggressiveness that they’ve become utterly ridiculous. What saves Fast X is that it’s so aware of its own absurdity that it becomes an entertaining parody of itself.

While the disparate thematic elements don’t mesh together seamlessly in Crater, the film offers enough fun and thrills to swell the ranks of aspiring astronauts.

Big George Foreman isn’t bad exactly, merely serviceable. You keep waiting for it to deliver a knockout blow that never comes.

The film’s wildly imaginative visuals are another plus, with the proceedings feeling so bizarrely trippy at times it’s as if Gunn is aiming to create a midnight cult classic rather than a blockbuster superhero film.

In contrast to Bellucci, who underplays in dignified fashion, Collette works hard, very hard, to sell the concept and her character. That she fails is not an insult to her formidable gifts, but rather due to the flimsiness of the material, which seems better suited to the small screen.

Despite Wilson’s on-the-nose caricature and the enjoyable comic performances of such supporting players as Lusia Strus and the ever-reliable Wendi McLendon-Covey, Paint never delves beneath the surface.

Directors Aaron Horvath and Michael Jelenic, creators of the Teen Titans Go! series, deliver a reasonably faithful big screen adaptation that, while it features plenty of juvenile humor, wisely doesn’t lean toward broad satire.

The only real amusement comes from the casual asides delivered by Sandler and Aniston, the latter also providing perfectly calibrated slow-burn reactions that too often become overshadowed by the overproduced mayhem surrounding them.

Pugh delivers a superb starring performance that serves to accentuate her growing artistic stature and co-star Morgan Freeman turns in his best work in years after appearing in far too many sub-par vehicles. Their efforts lift A Good Person, which otherwise too often feels familiar in its themes and self-conscious in its melodramatic plot contrivances.

What also makes Angel Applicant different from so many other personal documentaries about serious illness is his essay-like examination of Klee’s life and career, accompanied by numerous examples of his artworks which became more abstract as his illness progressed.

Like some children who aren’t so cute anymore after they’ve grown up a little, this follow-up lacks much of the appeal of its predecessor. While the film provides the elaborate action set pieces, colorful villains and save-the-world plot mechanics expected of the comic book movie genre, some of the magic is missing.

Bigger, badder, bolder, longer, and featuring nearly more spectacular set pieces than one movie can comfortably handle, this epic action film practically redefines the stakes.

The film’s lengthy chronology and constantly shifting tones would be challenging for any director, but Longoria, making her feature debut, handles things expertly, infusing the proceedings with a loving appreciation and authentic-feeling depiction of the Latino community at its core.

The filmmaker, making his feature debut, also has more interesting things in mind, delivering a darker, more complex story that nonetheless proves utterly heartwarming by the end.

Making an atypical foray into commercial film territory (the Star Wars films being a notable exception), Driver proves a formidable action movie hero, his imposing physicality (and, perhaps, his former experience as a Marine) serving him well here.

Scream VI will probably prove as popular as most of its predecessors, proving that if you give the people what they want — namely lots and lots of gory stabbings with a little satire thrown in — they will come.

Champions, feels overly familiar. But that doesn’t make this sure-to-be crowd-pleaser any less winning, especially with the endlessly likable Harrelson at its center.

Some of the dialogue is fun, especially as delivered by Plaza, who amusingly always seems to be commenting on the outlandish proceedings even while taking part in them. And now that Grant’s pretty boy handsomeness has matured with age, he’s eagerly leaning into the character actor stage of his career. Chewing the scenery with gusto, he gives the film a jolt of comic energy whenever he’s onscreen.

It definitely delivers the goods, making it fairly obvious that DCI John Luther isn’t going away anytime soon.

A touching reminder of music's ability to change the world.

For all the authentic genre tropes on display, Marlowe never comes to life on its own, lacking the verve or wit to make it feel anything other than a great pop song played by a mediocre cover band.

For better or worse, Ant-Man and the Wasp: Quantumania is the most overtly sci-fi film in the series, and on that level, it succeeds very well.

Despite the formidable star wattage and estimable talents on display, however, Maybe I Do fails to overcome its obvious stage origins, feeling all too schematic and talky. The plot feels like it could have been lifted from a French farce from the last century.

Even when the ambitious film overshoots, you can’t wait to see what happens next.

What comes through most vividly, other than the human tragedy on display, is the vital importance of war correspondents and the courage and ingenuity they must possess in order to work under such life-threatening conditions.

Lead actors Cole and Latimore are competent enough, but they don’t come close to approximating the original film’s stars’ charisma or likability, with the result that their characters’ ill-advised activities leave a sour taste. This is one party you can’t wait to be over.

Fortunately for moviegoers, the veteran Scottish actor is an engaging, charismatic presence, and Plane is the sort of breathlessly paced suspenser that barely leaves a moment for audiences to stop suspending their disbelief.