G. Allen Johnson

The problem with “The Tiger’s Apprentice” is it sacrifices character and story for the repetitive mind-numbing action we have come to expect from such fantasy and superhero films.

Adapted from Justin Torres’ debut novel from 2011, Zagar’s bravura direction, with a visual style by cinematographer Zak Mulligan, is lyrical and poetic in an approach that would suggest Terence Malick, complete with wistful narration by the film’s young protagonist.

One reason why “The Conjuring: Last Rites” is so uninteresting is it takes one hour, 21 minutes for the Warrens to agree to enter the haunted house that we all know they’re going to enter from minute one.

One wonders how a master of truly twisted movies — say, a David Lynch or a Brian De Palma — would have approached “The Voyeurs.” One suspects they would have a bit more fun and taken us further down the moral rabbit hole. And the sex would have been better too.

Still, I Am Woman, while it doesn’t roar, effectively tells Reddy’s story and speaks strongly about the women’s movement and the struggle that continues.

For a documentary about one of the most prestigious opera institutions in the world, The Paris Opera has, maddeningly, very little opera.

The film, “based on the incredible true story” that happened in 2014, is an efficient, fun but by-the-numbers movie that has the distinction of being shot on location in the Dominican Republic, which looks quite lovely onscreen.

A mostly absorbing but strangely inert espionage drama that could have been a heart-pounding thriller.

While False Positive has lapses in logic and could have a quicker pace in the second half, it fully embraces a bizarre sense of the macabre that is irresistible.

Feels like a regifting of previous action adventure favorites, lifting elements from the “Mission: Impossible” series, “Skyfall” and, most of all, “The Incredibles.” It’s fast-moving, entertaining, kinda clever and instantly forgettable.

There are so many rich, colorful scenes that it’s a worthy watch just as an ethnographic record of our planet in a moment of time.

Competent, to be sure, with some good lines.

Sure, Black and Blue is a minor film, but it’s irresistible.

Directed by Everardo Gout, The Forever Purge is non-stop action, which is fine because the script by series creator James DeMonaco, who directed the first three films, never plumbs the depths of its clever concept. The intense, appealing performances by the lead actors get us through.

Landscape With Invisible Hand is a bizarre, off-kilter experience that shows us how we are destroying ourselves, no aliens necessary.

It’s a slickly made piece of entertainment that’s a good time out at the movies.

Yes, Charli is playing a version of herself, but she does it well.

It’s an action and suspense film, and, like Butler’s earlier 2023 flick “Plane,” a good one. Impressive set pieces include a car chase through a small-town bazaar, and a midnight shootout between Tom, outfitted with night-vision goggles, and a helicopter.

G20 is standard-issue improbable action that’s lifted by EGOT (Emmy, Grammy, Oscar, Tony) award winner Davis, who makes everything better, and the Mexican-born Riggen’s direction.

Although the script takes some unfortunate shortcuts, “Eleanor the Great” is a moving study of grief, loneliness and aging. But each of the main characters has something missing in their lives, a hole to fill inside of them, and Johansson gives her actors the space to explore.

Taccone can’t find the right mix of comedy and horror in “Over Your Dead Body,” which is a faithful — perhaps too faithful — remake of a 2021 Norwegian film, “The Trip.”

But for now, we have The Last Voyage of the Demeter, which actually was a pretty good idea that just didn’t have enough wind in its sails.

Girls of the Sun has an air of authenticity and grit that’s convincing, and Farahani, an Iranian-born actress, makes us care.

It’s a film that feels instantly antiquated, despite its attempts to capture Gen Z angst.

Austin is funny, extremely funny, because he is so ridiculous, and because Myers is a brilliant mimic who, like Martin Short, knows how to do ridiculous.

The fighting in the “Karate Kid” movies and its Netflix series offshoot, “Cobra Kai,” has always been quality, but in “Legends” it’s too quick-cutting and chaotic, hard to follow and over much too quickly.

Targeted as Valentine’s Day comfort cinema, the new Paramount+ movie At Midnight is as sappy and predictable as it sounds, with walks along the beach, romantic getaways, candy-colored scenery and, of course, the inevitable mix-ups, misunderstandings and silly arguments that are requirements of the rom-com genre.

A final word about Bardem: He’s simply terrific. With his shaggy curly hair, exaggerated showmanship, athletic dance moves and operatic gestures, Hector is part Willy Wonka and part Gene Kelly — it’s Bardem’s most off-the-rails performance since his turn as a James Bond villain in “Skyfall.”