Katie Walsh

She’s spunky and hot-headed, he’s sweet and adorable — if they touch, it could be a disaster, but somehow, their chemistry just works, bringing the charming “Elemental” to a lively roiling boil.

It’s easy to take for granted what’s good about Dalíland, namely Gala and Dalí as played by Sukowa and Kingsley. Sukowa’s depiction of a Russian woman with a taste for drama and the finer things in life is over the top, but deadly accurate; Kingsley balances imperiousness and vulnerability beautifully and with an ease only he seems capable of achieving.

Unable to rise above this internal conflict, it’s a film that’s both dull and disposable. Though it sets up the opportunity for more interconnected franchise filmmaking, this is a beast that needs to be put down.

A breathlessly beautiful achievement not just in animation but also comic book movie storytelling, Spider-Man: Across the Spider-Verse is willing to shred the lore from top to bottom and weave it back together again in new, surprising and wildly entertaining ways. It’s simply spectacular.

It’s a pleasure to see Butler do his thing opposite a talented array of international performers — Fazal and Fimmel are standouts — and stretch his specific set of skills into more complex contemporary storytelling, making “Kandahar” worth the trip

All the excellent acting and sumptuous style can’t cover up that the culmination of this tête-à-tête is disappointingly hollow with an ironic bow on top.

Leterrier and Momoa bring an energy and excitement to Fast X that juices the engine to deliver the goods that fans want. But the jumbled lore and odd treatment of characters may leave audiences with more questions than answers, and wondering whether the franchise is running on fumes.

What emerges from the electronic noise and fussy aesthetic of “BlackBerry” is a compelling portrait of a company that flew too close to the sun.

The love story that is The Eight Mountains expresses this ineffable relationship between those who know us best and the places in which we find ourselves with a rough-hewed grace and profound knowingness.

It’s fun to see [Rodriguez] color in new shades of film genre, but the script and performances in “Hypnotic” are too laughably absurd to take seriously.

It may be treacly and unrealistic, but “Book Club: The Next Chapter” has heart and soul, and it’s as sweet and quaffable as an Aperol spritz on a hot day.

Gunn exhorts the audience to embrace the quirky, the messy, the flawed, to strive for connection, not precision in this world and beyond. It’s a resonant message at the center of all the din.

What a wonder that the film adaptation of Judy Blume’s beloved 1970 young adult novel Are You There God? It’s Me, Margaret is as lovely, heartfelt and, indeed, deeply radical as the original text.

One can’t help but feel that the man himself — grill and all — is so much more fascinating than this rote representation.

It’s the best film he’s made in years.

Directed by Stephen Williams with a sense of momentum and fluidity, it’s hard to shake the feeling that this version of Bologne’s life story glides over the most interesting parts.

This high-concept romp demands an over-the-top and facile narrative, and some of the bits are a bit hackneyed, but Mafia Mamma is much more wacky, funny and violent than the too-tame trailers would have you believe. Collette goes for broke in her performance and Hardwicke juggles the tone, style and genre play with ease.

The stylish Renfield is a bit of frothy fun. It may be too flip for some, but flippancy isn’t the issue — it’s the flimsiness. Hoult and Cage sell the toxic odd-couple dynamic well, but a sturdier story is required to fully support their performances, especially Cage’s operatic Dracula, who delights in terrorizing his foppish familiar.

The Super Mario Bros. Movie is mildly amusing, swift, noisy and unrelentingly paced, which is par for the course considering this is the studio that brought us the Minions.

The style is busy, Affleck laying a heavy hand on the ’80s references and music cues, Robert Richardson’s cinematography mimicking the amateurish style of someone with a brand-new camcorder. But the pace flies, and the actors make the film wildly engaging.

The film is utterly absorbing, anchored by the unpredictable performance of Taylor, playing a hopelessly complicated, but deeply caring woman.

The film’s affable nature and the sheer charisma oozing off Pine and Grant is intoxicating, but overall, there’s a sense that it doesn’t quite gel, the engine revving but never hitting the speed of which it seems capable.