James Berardinelli

n the one hand, The Wonder is a fascinating examination of the war between the sacred and the scientific. On the other hand, despite its strong sense of atmosphere and an intense performance by lead actress Florence Pugh, it’s strangely uninvolving.

Black Panther: Wakanda Forever is an overlong blockbuster in search of an editor. It’s a series of impressive action sequences without a compelling narrative to connect them. It’s a frustrating example of how financial success, not creative impetus, drives the existence of sequels, and it illustrates how unwieldy, contradictory, and overstuffed the MCU has become.

Movie-going isn’t a civics assignment but Till is a sufficiently powerful motion picture that it offers more than a history lesson.

It’s not that there’s anything fundamentally wrong with the film. Some of the individual moments are impactful or effective at evoking nostalgia. But, as they say, the whole is less than the sum of the parts. It feels like a watered-down replica of other, better coming-of-age stories.

Tar isn’t based on a true story but it possesses an emotional and intellectual honesty that makes it seem more real than countless made-for-mass-consumption biopics.

In a streaming series spread out over four or six hours, this might have offered compelling content (and certainly would have seemed less rushed) but, in its current format, it’s more frustrating than satisfying and the facile ending doesn’t hit the right spot.

Although this features high wattage stars, it represents a curiously anachronistic attempt at escapist fare.

Black Adam embraces many of the worst elements and tropes of the superhero genre, resulting in a loud, discordant experience replete with fist-fights, pyrotechnics, and an overdose of CGI.

The tapestry is large enough for the big screen and the overall experience will reward the movie-goer far more than something slick and superficial like Don’t Worry Darling.

Editing is increasingly a lost art and there are times when Triangle of Sadness might have been more effective had it been presented with greater economy. Stylistically, however, that’s Ostlund. We’ve seen it before and doubtlessly we’ll see it again. There’s enough here to make it worth enduring the length.

Although Halloween Ends is a better-than-serviceable slasher film, its old-school approach to horror might feel dated in comparison to the flow of new, more intricately plotted films in Hollywood’s post-pandemic pipeline.

With its whiplash-inducing tonal inconsistencies and sloppily assembled narrative, Amsterdam often feels like a pastiche of (take your pick) Monty Python, The Coen Brothers, or Wes Anderson grafted onto a crime caper/espionage thriller with a strong allegorical message about fascism.

Smile represents the latest in an impressive roster of horror films that have pushed the envelope, daring to go where most cookie-cutter fright-fests of the past decade have avoided treading. This is a dark, uncompromising movie that explores serious subjects like trauma and suicide.

The director may be able to make a compelling case for why he made Blonde the way he did but I can make an equally compelling case for why only a masochist would want to sit through the whole thing.

The pacing is too leisurely and, although Ungar is invested in telling Galvan’s story and fleshing out the man behind the dubious legend, there are times when it feels like he’s bypassing a more intense rendition of the same basic story. Bandit offers more of a diversion than an experience.

Although there are a number of problems with the production, the most glaring is the screenplay. The flaws of the final act are so flagrant that nothing short of a rewrite would have solved them.

Many of the characters might have longer, more fully fleshed-out arcs. But what Prince-Bythewood provides is more than enough for a rousing motion picture filled with well-choreographed battle scenes effectively folded into stories of human interest.

In terms of humor, See How They Run is more amusing than outrageous. Outside of the few instances of slapstick and physical comedy, it is designed to generate smiles (rather than provoke belly laughs). The script is clever and silly at the same time. (That may seem contradictory but it’s not.)

It’s experimental without being off-putting and it uses its 100 minutes to build out a character who was frustratingly incomplete in X.

Smith has infused this final chapter of the accidental trilogy with an odd tone. It’s a comedy that wants to be serious but has trouble finding the right pitch.

For roughly two-thirds of its 100-minute running length, Barbarian is a top-notch excursion into the dark, twisty tunnels and catacombs of a mystery-cum-monster movie.

True Things is solidly made but there’s just not enough substance underlining the characters or their story for it to be memorable.

The movie is at times funny, at times blistering, and at times insightful, but it lacks consistency, thereby arguing that perhaps the short film that provided its basis offered a better length.

Samaritan isn’t terrible but neither is it especially good. It’s a B-grade comic book movie that looks, sounds, and plays like a B-grade comic book movie.

It’s an elegant and highly unexpected offering from George Miller that allows him to step away from the Mad Max universe if only for one interlude.

The film is unquestionably more accessible than Horse Girl, but for all of its parodic elements and unpredictability, it nevertheless feels unpolished and unfinished.

Older viewers may lose patience with the thinness of the narrative. Nostalgia might keep them watching but there’s only so far that can go and 90 minutes is too much to ask without the correspondingly intriguing story that Summering lacks.

In terms of the balance between narrative, mystery, and razor-sharp dialogue, I was reminded of Knives Out. Very different films in some ways but not that different in their ability to engage, entertain, and not overstay their welcomes.

Forgettable? Yes. But good enough to provide a couple hours’ diversion.

There’s a time and a place for mayhem, and that’s essentially what Bullet Train is: two hours of fights, carnage, and witty repartee. Oh, it’s too long, to be sure – probably at least by 20 minutes. And its puzzle-like structure is too complicated for its own good. But, taken on its own terms, it’s fun and energetic as only this sort of film can be.

At under an hour, it could have been creepy and unsettling enough to work without being weighed down by narrative issues. At over 100 minutes, it feels too long and there’s a law of diminishing returns in effect. Once we recognize the underlying dynamic, the movie becomes less of a story and more of an acting/directorial exercise.

This Blumhouse production marries fish-out-of-water elements with some philosophical musings and offbeat characters that might remind viewers of (Robert) Altman lite. The ending feels a little forced, as if the filmmakers felt that not providing some kind of punch might disappoint viewers, but there are enough little pleasures along the way to more than compensate.

It might be fair to argue that Shephard overreaches with Not Okay, but there’s something bracing and fresh about throwing caution to the wind the way she does. The movie doesn’t have the bland, cookie-cutter feel of so many of the other productions that comment on the evils of the Internet.

It’s an entertaining enough movie and the sound design and visual palette make a strong case for theatrical viewing (over the phone/tablet/TV alternative) but the elliptical narrative may frustrate some viewers and the lack of an epic scope make this a most atypical would-be blockbuster. Still, Peele’s name recognition is strong and the less-is-more style of the trailer has created a level of buzz. Those who see Nope might not get exactly what they’re expecting but they may enjoy it anyway.

The Gray Man is part of an unflattering pattern where creativity plays second fiddle to algorithms.

Whether it’s the screenplay, the direction, or the acting, Art of Love never ascends to the level that would make it more of an experience than a way to pass a couple of hours.

Where the Crawdads Sing is not without flaws but it draws the viewer into its specific time and place and offers an engaging two-hour escape into the life of a memorable individual.

Transforming Persuasion into something generic and pitching it to viewers seduced by the likes of Bridgerton and Mr. Malcolm’s List illustrates not only a lack of imagination but a betrayal of the source material.

Unfortunately, stiff acting, an increasingly hard-to-swallow storyline, and an atrociously bad ending torpedo Eli Horowitz’s Gone in the Night, making it unworthy of even a streamed view. When the movie started, I wanted to like it. 90 minutes later, I just wanted it to end.

The film embraces the value of pursuing one’s dreams while extolling the virtues of haute couture. My guess is that it will appeal strongly to the Downton Abbey faithful.

Although McHale’s theories are interesting to listen to, there’s a smoke-and-mirrors quality to them. One thing is certain, however: You Don’t Nomi is a much better motion picture than the movie it profiles.

Thus far, the 2021-22 roster of Disney/Marvel post-pandemic titles has struggled to advance the series beyond Thanos in a meaningful fashion. Although it’s questionable whether Thor: Love and Thunder changes that, it has a helluva lot of fun trying.

Of the five movies in the Despicable Me/Minions cycle, The Rise of Gru is the second-best, following the debut installment. The series has long since given up finding new avenues to explore (the way the first one and, to a degree, the second one, did), relying instead of regurgitating ideas and comedic bits. It’s almost surprising, therefore, how effectively it works.

In many ways, The Forgiven feels like a CliffsNotes version of a longer, more complex narrative. But, even considering that numerous subplots might benefit from a mini-series approach to the material, the transformation of the central character is handled in a powerful, credible manner.

Genre fans may perceive it as good enough to scratch an itch but no matter how well it eventually incorporates the various Pride & Prejudice tropes, it’s hard to see this as more than obligatory and unnecessary.

Luhrmann’s movie achieves its goals of highlighting Elvis’ music while providing a capable, if imperfect, abstract of his life. For fans of the icon and his music, it hits enough sweet spots to be worthy of a theatrical viewing.

The Black Phone is as solid a horror film as has come out post-pandemic and brings back memories of when “horror” meant more than an assembled sequence of shocks and blood-soaked clichés.

The Man from Toronto is derivative and forgettable; nothing about the venue in which it is seen will change that.

Had there been more to Lightyear than a retread of sci-fi cliches with a beloved character, I would have been less disappointed.

Those who don’t appreciate films built on the simple foundation of two characters (mostly) talking for the entire running length aren’t going to enjoy what Good Luck to You, Leo Grande is selling, even if sex underlies nearly every passage of dialogue. The movie is funny at times and touching at others but it’s never especially erotic (nor is it intended to be).

Brian and Charles is a pleasant diversion, offering a few hearty chuckles along the way to an uplifting ending.

Dominion argues that not even the return of three beloved characters can rescue a franchise that has fallen and can’t get up.

Top Gun: Maverick is one of those rare breeds: a sequel that’s better than the original.

Although parts of Emergency can feel like a bizarre cross-pollination of After Hours (Martin Scorsese’s 1985 chronicle of a nightmare road trip) and Weekend at Bernie’s, there’s more going on here. Despite the comedy, the screenplay poses some serious questions that can’t simply be brushed aside.

The grandeur of Big Sky Country, captured with majesty and elegance by cinematographer Giles Nuttgens’ lenses, provides the backdrop for an intimate story of tragedy and reconnection that is no less riveting than the terrain where it transpires.

In a way, it’s almost worth recommending Men for the first 70 minutes. At that point, a quick exit would preserve the illusion that this is some sort of modern horror classic. For those who stick around, however, the final assessment isn’t likely to be nearly as favorable.

A New Era offers the kind of comfortable, comforting experience that Downton Abbey aficionados have been awaiting since before the term COVID was coined.

Few authors have been as badly victimized by Hollywood as King; this is just another title to add to the list.

Putting aside any long-term implications, The Multiverse of Madness is a frustrating mix of eclectic elements that at times feel more like Raimi referencing his Evil Dead movies than his previous superhero work. It’s undeniably fascinating and at times exhilarating but my overall feeling is one of vague disappointment.

Memory plays like a blended cop movie/revenge thriller and exhibits the strengths and weaknesses of both. At its best, it recalls the Mel Gibson movie Payback (which was similarly a remake of an earlier film based on book).

It’s a painless diversion – no more, no less – that gets an injection of energy from the lead actor’s willingness to not take himself too seriously.

The Northman is gripping cinema of the sort that we get too little of today, when too often a director’s vision is diluted by box office imperatives and the lure of four-quadrant appeal.

The movie’s narrative twists are neither surprising nor interesting and the emotional weight of the story and characters is feather-light. It is, however, engaging in a disposable fashion, offering occasionally entertaining instances (such as the aforementioned Tarantino homage) and an animation style that seems less plastic than many of today’s generic offerings.

There’s nothing in this third Fantastic Beasts installment that will grow the audience. In fact, the plodding pacing offers little to excite anyone outside the dwindling core fandom.

From the sluggish introduction to the chaotic heist scenes (which happen quickly and haphazardly), the first 45 minutes of Ambulance struggle to find any sort of rhythm. Once the protracted ambulance chase begins, the film is on firmer footing and viewers will recognize aspects of the familiar Speed template, but the movie never achieves anything more substantive than being impressive eye candy. After a while, it becomes more exhausting than exhilarating.

Although it runs too long, it’s nevertheless an enjoyable and satisfying romp through the lives of one woman who makes “being the worst of her selves” an asset.

Keeping in mind the limitations imposed on the production by the running time, All the Old Knives offers a compelling (if ultimately unremarkable) spy movie that tilts more toward a drama than a conventional action/thriller.

Morbius is the kind of bland, by-the-numbers origin story that shows comic book movies at their least innovative.

Barbarians starts out as a tense psychological thriller unfolding against the tableau of a not-so-friendly dinner before morphing into something decidedly physical and creepy.

Despite never previously having made a feature film, Stolevski’s sure-handed approach delivers a winner. He takes chances, doesn’t underestimate his audience, and tells a story worth telling.

It’s easily digestible and, although some of the less successful elements may try the patience from time-to-time, the companionable chemistry – screwball banter mixed with romantic frisson – between Bullock (who’s much better in this sort of part than her more serious outings) and Tatum smooths out many of the rough patches.

Beautifully filmed and emotionally on-target when confined to 1924, Mothering Sunday loses its way once unmoored in time and left adrift on the currents of the years to come.

X is a reminder that, while the slasher genre had some very deep valleys, some of the most effective horror emerged from it (especially in the early days before the films became little more than orgies of inventive eviscerations). With X, West seeks to recapture some of the fun, edginess, and energy of those productions while at the same time delivering a few surprises.

Master is something of a mixed bag but and, for those hoping to find the next Get Out, the search must go on.

In the end, the story becomes a little too convoluted and the resolution is over-the-top but, for the most part, the twists and turns keep the viewer engaged, the puzzle pieces fit together on a second viewing, and Rylance never ceases to mesmerize.

The premise is intriguing and the cast is top-notch but, taken as a whole, The Adam Project comes up short. As a way to fill an unpretentious couple of hours, it’s fine (especially as part of a bigger streaming package), but as a destination film, it’s a disappointment.

I don’t for a moment believe the film has widespread, mainstream appeal (hence the decision of Disney-owned Searchlight Pictures to bypass theatrical distribution in favor of a Hulu premiere) but for those who enjoy stews that mix warped comedy with twisted horror, it hits the spot.

At a time when many comic book franchises are seeking to go bigger, with cosmic beings and multiverses, The Batman’s down-to-earth approach offers a welcome reprieve.

It’s not conventionally frightening nor does it offer a cavalcade of artificially crafted jump-scares, relying instead on a deeper, more primal form of terror built on a foundation of slow-burn tension and a surfeit of atmosphere.

Marry Me isn’t good enough to transcend the limitations of the genre but it’s a passably enjoyable throwback to the heyday of rom-coms.

Die-hard Christie purists may be disappointed by some of the changes but, on the whole, Death on the Nile is faithful enough to tell the story and different enough to work better with modern-day concerns about diversity than the original text.

Most rom-coms take vague stabs at humor while focusing on the romance. Here, the balance is shifted. There’s enough chemistry between Day and Slate to get us to root for their coupling but both are comedians by trade and that serves them well.

In terms of storytelling, excitement, and overall entertainment value, Blacklight is a black hole.

There’s nothing worthwhile here; the landscape of wretched banality offers only wasted time and a sense of despair.

Throughout the entire production, there’s an excellent sense of place with both the touristy and less friendly aspects of Acapulco contrasting with one another. These real-world contradictions are less compelling than those in Neil’s personality but they make for a fascinating backdrop to the unveiling of the truths about one man’s psychological dissolution.

Allen almost seems to be going through the motions – his jokes are flat, his stories are poorly focused, and the sense of zany energy that characterized his best films is absent.

As a streaming offering available as part of a subscription package, it might be considered an adequate way to pass 90 minutes but as a reason to venture out to a theater, it’s hard to imagine anyone willing to go to those lengths for something this forgettable.

If Scream is intended to re-start the franchise, things are off to a rocky start. This is what happens when Hollywood refuses to give up on a series that has run its course.

It employs the power of tragedy to enrich.

The special effects are suitably impressive and mostly understated (or at least as understated as is possible for a high-tech spy thriller) and the stunts are expertly executed. But it’s all in the service of a generic package.

Despite some of the seemingly obtuse screenwriting decisions made by Almodovar, Parallel Mothers is a strong, affecting drama that asks tough questions for which there are no neat, clean answers.

Macbeth may be among the Bard’s weakest popular plays (opinion is, of course, divided) but this is one of the better cinematic conversions.

The Lost Daughter uses tone, location, and a string of expert performances to leave an impression, even if the story itself is unremarkable.

The Matrix Resurrections is a waste of time and money. For fans of the series, it’s a betrayal that deserves to be ignored and forgotten as soon as possible.

With a generic cast, Don’t Look Up would have been a disappointment. With this star-studded cast, the classification of a “missed opportunity” doesn’t do it justice; it feels closer to a tragedy.

A warm and loving Valentine to the San Fernando Valley of the 1970s, it never allows nostalgia to overwhelm narrative, although there’s plenty of the former to go around.

As either a 007-inspired spy film or a comic book adventure, The King’s Man feels stale.

Kids will have fun, parents probably won’t be bored, but will anyone really care? Sing 2 is a product and, like many products, it exists mostly to distract and make money.