Jake Coyle

The elements never quite cohere in “Freud’s Last Session.” The rhythm of conversation feels choppy and lacks the probing give and take that can electrify a two-hander.

There is little here, amid the high-tech photorealistic animations, that would satisfy London’s concept of “wild.”

Don’t Worry Darling is ultimately neither worthy of all the off-screen fuss nor quite the on-screen disappointment it’s been made out to be.

The Secrets of Dumbledore, lacking in much magic, is a bit of a bore.

It’s a empty chamber for movie spectacle and nothing else, where the only option is to pile elements on top of each other until you have, you know, a giant evil ape swinging a vertebrae like a lasso while riding a kaiju controlled by a crystal.

None of this is likely to be enough for anyone to exclaim “Oh, yeah!” while hopping up and down and doffing their cap. But it is an hour and a half’s worth of superlative marketing that will whet your appetite for more Mario back home on the couch.

A work of fierce interiority has been turned into a hollow exercise in exteriority.

Arteta (The Good Girl, Cedar Rapids) has an underrated ability at crafting comic, humanistic movies out of commercial concepts. But Yes Day slides too often into contrived, loudly scored montages of “fun” that don’t transfer to those of us watching. And while Garner and Ramirez are both very fine actors, neither of them is funny.

If you accept the low-bar aspirations of “Frozen Empire,” you may get a pleasant-enough experience out of it. It’s a movie that feels almost more like a high production-value TV pilot for an appealing sitcom, with Rudd as the stepfather, than it does a big-screen event on par with the original.

Like its characters, it’s drunk on what came before, relying too heavily on noir tropes. But its smart, thought-provoking concept isn’t so easy to shake off.

What distinguishes The Nun is its silky, sumptuous shadows. Directed by British filmmaker Corin Hardy (“The Hallows”) and shot by Maxime Alexander (who was also cinematographer on the “Conjuring” spinoff “Annabelle: Creation,” The Nun shrouds itself so much in darkness that it at times verges on becoming a nightmarish abstraction. You almost lose sense of what exactly is going on, as Sister Irene falls into a labyrinthine abyss.

The Meg is best when it acknowledges its derivativeness, just one more silly shark movie in an ocean full of them.

It’s not surprising that “Folie à Deux” originated in concept as a stage show. It’s stuck in place, with only Phoenix’s dazzling contortions to marvel at.

McKay, director of The Lego Movie, is most at home in humor, and The Tomorrow War can be funny. It’s less adept at some of the operatic notes it tries to strike, but, well, aliens can be tricky.

The buddy movie balance of “Uncharted” never clicks. Wahlberg, who was once attached to play Holland’s part, plays Sully like Nathan’s roguish, less tech-savvy elder. But they lack the needed chemistry and the script, by Rafe Lee Judkins, Matt Holloway and Art Marcum, doesn’t give them enough comic material to do much with.

A hopelessly bland and bizarrely self-serious monster movie.

All the pieces here are fine but nothing is distinct from dozens of films before it. You would swear that the movie’s star AI wrote it — and even gave itself first billing, too.

Like its predecessor, Murder Mystery 2 is built on old-fashioned star power and the interplay between Sandler and Aniston. They’re good company to be in, and sometimes that’s enough.

Bloodshot is just smart enough to be more than trash, and just trashy enough to be less than smart. It will do fine if you’re looking for a lesser simulation of a good movie.

Though “One Love” drifts into increasingly conventional biopic scenes, its spirit remains fairly true to Marley — enough, at least, that you overlook some of its faults.

The greatest tension in Larsson’s “Millennium” series is how Salander so bristles with unease in the world, even while she expertly manipulates everything in it. No such conflict is found in The Girl in the Spider’s Web, a commonplace thriller for an uncommon heroine.

It’s starting to seem like every franchise film, when in search of a story, throws a battle against the wall and hopes something sticks. Not only has this gotten tiresome, but it also sacrifices what we came here for in the first place: Jolie and Pfeiffer glowering at each other.

Like countless studio comedies of the past few years, Night School is a straightforward concept that relies too much on the charisma of its performers to carry a weak script.

"Scooby Doo” was never the most unpredictable of shows but Scoob! has merely swapped the original’s blueprint for that of a superhero movie. You’ll be left mournfully munching a bag of Scooby Snacks while wondering, “Scooby-Dooby-Doo, where are you?”

The movie’s premise is one long Uber ad, but it’s a clever enough buddy comedy setup, and both Nanjiani and Bautista are good comic performers. So what’s missing here?

Locked Down is inevitably, and intentionally, of the moment. But I hope some of its off-the-cuff spirit lasts after the pandemic. So much Hollywood moviemaking is laboriously preordained.

It’s Tassone’s perspective that Finley largely keeps to, which — if you don’t know the true story — lets Bad Education unspool if not surprisingly at least captivatingly.

Mostly, Jackpot! is an action-comedy vehicle that pairs Awkwafina and John Cena for a romp through a few clever economic inequality gags and a lot of cartoonish mayhem.