James Berardinelli

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.