Jesse Hassenger

The best moments toy with a kind of superhero body horror, but the movie never fully commits to that angle, maybe to appease a ratings board and perceived audience of 13-year-olds (isn’t that who Venom was designed to please?), or maybe because director Ruben Fleischer (Zombieland) is more interested in the comic possibilities than the horrific ones.

It’s still mostly just a time-passer for younger kids — and, absent a strong point of view, as much of a hedged bet as its narration-and-song opening.

The emotional impact is ultimately surprisingly muted; she dies too soon, and the movie ends. Then again, it’s hard to blame anyone for assuming that consistent access to Radner’s voice, in moments both public and candid, would be enough. She radiates such joy, all these years later, that it nearly is.

It’s a simple idea, to take this working-class family and introduce what amounts to a high-tech ray gun, but the hook is so effective that it buys Kin a fair amount of time before the story turns from scrappy to stupid.

As a thriller, Searching is both ruthlessly absorbing in the moment and relatively disposable as soon as it ends, sliding itself gracefully into the desktop recycling bin.

Alpha has been sold, to some degree, as a family-friendly film, and while it’s too violent and perhaps too heavily subtitled for young kids (or, for that matter, some adults, who may notice how superfluous much of the dialogue is), it’s easy to picture some 10-year-olds taking to its exciting, cornball charms.

In a movie this flat-out dull, even a tasteful lack of direct exploitation feels like a failure of nerve.

If Dog Days were a little weirder, it would just be a smug anti-comedy takedown of a late-period Garry Marshall picture, like "They Came Together" with its biggest laughs edited out.

Perversely, it’s only after Like Father is in the clear from its potentially ridiculous set-up that it really starts to trade in phony sitcom-movie bullshit.

It’s telling that the filmmaker captures one of Gallagher’s best moments in a long and relatively uneventful take situated at a breakfast table; this movie may wander, but Akhavan’s attention to perfect little moments is unwavering.

It’s hard to fault Puzzle for going in a more rigorous, serious-minded direction... until it trudges in that direction with such repetition. Turtletaub and his screenwriters lay the borderline-anachronistic details of their heroine’s oppressive life on so thick that the movie starts to sag.

Diggs, Casal, and Estrada are all walking on a high wire here, requiring a balance so delicate that it may not be visible to some of the audience until they have to decide for themselves whether Blindspotting’s leap-of-faith climax works.

It’s pleasantly baffling to discover that not only is Hotel Transylvania 3 easily the best film of the series, but it also feels more at home thematically on a cruise ship than its predecessors did at a haunted Transylvanian castle.

Sorry To Bother You is often wildly funny, and if its broad arc is familiar stuff about a down-on-his-luck everyman experiencing success but at what cost, at least the plot specifics are unpredictable by dint of Riley’s imagination.

It’s supposed to be evocative, but in many scenes the characters just look dim and overly backlit, to the point of obscuring the actors’ expressiveness. There might be another metaphor in there somewhere.

There is visual wit in Jurassic World: Fallen Kingdom, and some invention, too.

Although its resolution is admirably non-fantastical, Action Point is ultimately more interested in telling a story about a pretty nice dad who becomes a somewhat nicer dad.

Given the sweetly dull-witted relationship at its center, Adrift threatens to bog itself down with the endless intercutting back and forth in time. But the movie has a little more up its sleeves, narratively speaking, than first appears, and Kormákur converges the two timelines effectively.

Perhaps because Lando was less explored than Han in the original films, Glover manages the tricky task of both paying homage to role originator Billy Dee Williams while adding his own spin to the character. Like Ehrenreich, his version goes comic without tipping into outright spoofery.

The movie portrays Deanna’s rediscovery of a pre-mom life, and how she squares that freedom with her identity as a loving mother, with a lot of warmth, and its refusal to gin up tired conflicts or mawkish lessons is admirable. That does, however, leave Life Of The Party without much comic momentum.

Though Davis makes Tully convincing both as a human being and as a mysterious godsend, it’s Theron whose work is absolutely vital to Tully’s success.

Smigel may not want to take up permanent residence in the Happy Madison offices, but he raises his old friend’s game considerably.

Trying to figure it out makes Traffik weirdly compelling, but nowhere near good.

Though little about the technical skill of Sgt. Stubby: An American Hero brings to mind Spielberg, it’s hard not to think of "War Horse."

It is not unusual for an underdog sports picture to be predictable. But The Miracle Season seems downright preordained, and not just in its arc. The movie is constitutionally incapable of surprise even on a moment-to-moment level.

The comedy Blockers, which is not written, produced, or directed by Apatow but feels descended from some of his work, sets for itself a more ambitious challenge, daring itself to give each member of its ensemble a coming-of-age arc, and to pull off two different high-concept comedies at once in the process.

As visually appealing as much of Gemini is, it wouldn’t work nearly so well without Lola Kirke playing Jill.