Johnny Oleksinski

“Grandpa” is, at least, not as moronic as much of De Niro’s recent résumé. But that’s a low, low bar.

Sandler, like him or not, is a master at bringing ‘90s heart and sentiment to his dumb schtick, and he’s disarmingly quiet and warm here. And his best jokes have nothing to do with Halloween.

Most of this film is humorless and with not so much of a score as a subwoofer.

It’s a low-key rest-stop story that appreciates life’s banalities and the struggles of ordinary people.

Thanks to Marvel, many films are trying to cash in on cape-and-spandex mania right now, but unlike the MCU, they look like crapola. If you’re going to make a superhero movie today, you gotta have a budget. “Secret Society,” perhaps, had Microsoft Paint.

The Artist’s Wife can, at times, come off as a collage of other, better movies.

What any of us wouldn’t give for a spontaneous night of rule breaking and lounge hopping with a genuine NY character, like Murray’s, again. Coppola’s funny and slyly emotional film, which should be cherished, is the closest we’ll get to that for a while.

A purely entertaining, scary flick will infuriate the culturati who like their movies like they like their Atlantic articles: long and academic. However, despite some issues, this Janelle Monáe film is a breathless watch.

Although the film can be a tad unrelenting, it’s highly watchable.

The film’s worst offense is that it works way too hard for it to be a light watch.

And now, your love-it-or-loathe-it movie of 2020.

While not totally original, transitions to live action with real guts and reinvention.

Trying to understand the story can make you feel like you’re sitting on a stool in a dunce cap.

Director Josh Boone’s goal was to jettison the usual comic-book trappings and make The New Mutants a horror film. He succeeded on the first part, but not the second. Nothing is scary or heroic. Perhaps unsurprising coming from the guy who directed “The Fault in Our Stars,” it’s all teenage troubles: love, sex obsession, a tinge of self-harm.

The entire cast is wickedly good, and their overblown characters are what keep the Dickens spirit alive.

This whole half-baked sequel is a forced exercise, willed into being by the so-called “Keanussance” — society’s renewed love affair with Reeves. He’s a nice guy and a decent actor, but he’s made a lame movie. It’ll let down even hardcore fans.

As the horror genre has, in recent years, grown more sophisticated and clever, you heave a sigh of relief to be handed a thriller that’s so dumb.

The director of all this airiness comes as a surprise — Thea Sharrock, the British theater artist known for her Broadway production of the play “Equus,” in which a naked Daniel Radcliffe stabbed the eyes out of a stable full of horses. “Ivan” is about as far from that as you can get.

There is enough detail and psychological nuance in Mattson Tomlin’s clever script to make Project Power more intriguing than most of what Marvel and DC have to offer, even if it could barely match their catering budgets.

Firth, who can still be a heartthrob when he wants, douses the smoldering embers of old romance and turns Archibald completely tense and awkward. It’s a wise choice that makes his eventual transformation more poignant.

Regina Hall is always extraordinary — even in projects that are mediocre.

Director Andy Tennant’s tone, by the way, resembles that of religious films, like last year’s “Breakthrough” with Chrissy Metz. Holmes is wholesome, and her third-wheel suitor, Tuck (Jerry O’Connell), is well-intended, if tortilla-flat. The music is cheesy and inspirational. But the whole thing is covered in materialist grime.

Taps into our worst fears of what could happen during a quiet holiday with heart-thumping realism.

It’s long, dumb and there’s nothing below these high-school students’ conspicuously perfect complexions.

Making an outlaw flick — not so easy, is it?

Oh, the movie is brilliant without a doubt, but it’s dotted with such shocking moments, and there isn’t a whiff of pretentiousness to be found. Only guts and incredible visuals.

Cool though the skirmishes are, director Gina Prince-Bythewood’s film could use some more visual panache, given the unique historical backgrounds of her characters. The look, by and large, is rudimentary action flick. Still, it’s good fun and has more than a few winning one-liners.

Perhaps the sharpest casting is J.K. Simmons as a gruff wedding guest named Roy, who got trapped in the time-loop earlier after a misguided cocaine binge with Nyles. He pops up occasionally to hunt Nyles with a bow and arrow or a shotgun to seek revenge. You will cherish the 65-year-old Oscar winner’s interpretation of being high on coke.