Frank Scheck

At a running time of over two hours, the experience eventually feels as wearisome as riding the same ride over and over again.

Corner Office succeeds all too well in conveying the deadening effects of office work, practically serving as a testimonial to the pandemic-created trend of working from home.

It proves more interesting in its chronicling of the business practices that made the Beanie Babies such a sensation, at least for a while, than in its portrait of personal dramas, the veracity of which obviously has to be called into question. Overall, the movie follows a by-now familiar trajectory, with the company’s mammoth success inevitably followed by its big fall.

Gariépy, masterful in her emotional and physical exactness, is a revelation as the enigmatic Kelly-Anne, whose stringent control over herself and her environment masks a sick compulsion whose origins we can only guess at.

This exercise in brutal nihilism ultimately proves as empty as the inane philosophy that provides the film its title.

Suffice it to say that if you enjoyed Extraction, you’ll have a fine time with this one, which, in typical franchise fashion, busts its butt attempting to outdo its predecessor. And it does.

The many, many action sequences are spectacularly conceived and executed, including a car chase on the Williamsburg Bridge that’s probably still tying up downtown traffic.

The story was already told in the 2008 documentary More Than a Game, but that won’t stop the GOAT’s fans from wanting to see this lovingly rendered adaptation that covers all the early career highlights, albeit sometimes in sanitized form.

The Boogeyman, in both its literary and cinematic forms, is undoubtedly relatively minor King. But when it’s done this well, even minor King is major scary.

The film’s genuine sweetness and affection for its characters go a long way toward compensating for its numbing overfamiliarity.

As usual, Butler brings a convincing humanity and vulnerability to his action movie heroics.

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.