Lindsey Bahr

Overall “The Old Guard 2” is fine, a bit of a background movie that’s probably easy enough to tune in and out of (though Schoenaerts, a standout, gives it some real pathos). Its greatest sin is the non-ending, which might have moviegoers engaging in their own rants about wasted time.

This is the first Hollywood film from South African director Donovan Marsh, and he does cook up some captivating action set pieces...which may have you laughing, rolling your eyes or even cheering (as a fair amount of people were in my screening), but it’s never boring.

Antebellum will inspire conversation, just probably not the one the filmmakers anticipated.

Was it attempting a freewheeling jazz form, or is it just messy?

Dark Phoenix is a whiff. The most suspenseful thing that happened had nothing to do with the movie at all, but the theater’s fire alarm that went off during a review screening during the epic climax.

Golding is simply not the right actor for the part. He’s not exactly bad, just miscast and misused. And despite the novel trimmings and flash around him, his character is woefully generic.

For all the hype behind these three characters meeting, and the years it took to get it off the ground, Glass is one big anti-climax.

At a certain point, the experience of watching this all unfold through Enzo’s eyes becomes the alienating element. You’re not experiencing the big moments yourself, you’re just experiencing Enzo experiencing them, leaving you to wonder if the story and performances alone are anything special without the dog’s metaphors and poeticisms.

While it might not knock it out of the park, Edge of the World is still a very solid watch if a little slow-going and might also just inspire you to revisit some of the classics its indebted to which is its own small triumph.

Not only do its two stars have zero chemistry with each other, but the story goes out of its way to over-explain and over-justify the preposterous premise, adding needless complications (like a whole side-plot about his family’s business) and motivations to make everyone more likable and empathetic.

The writing is wry and occasionally quite funny. It’s not unsurprising that it made for a good play. But on film it moves at a languorous pace. Like its characters, it’s not interested in getting anywhere anytime soon.

It’s not a bad idea and Union proves more than capable of nailing her Liam Neeson/Bruce Willis moment of save-your-family action stardom, but the movie has trouble sustaining interest even over its brisk 88 minutes.

It is like an Austen amuse bouche — an entry-level cover version that tries to rev up the humor and speak directly to Gen Z by using its lingo — or at least an advertising executive’s idea of what Gen Z sounds like. But something feels off about the way it is executed.

The big problem is that Halloween Kills is less of a sequel than a half-baked interlude before the finale. It is a bloody, violent, chaotic and cynical mess and not even in a good or particularly scary or insightful way.

The good news is that Without Remorse is pretty great when it comes to the action, and there is a lot of it.

Plotlines are abandoned at will, there are set ups for things that never come back and some suspiciously malleable “monster-logic” that makes the whole endeavor seem a little lazy and half-baked.

This party isn’t worth a trip much further than living room.

How jokes this offensive can make it to the screen in 2019 is beyond comprehension and a bit of a shame, considering that this has so much else going for it including a delightful late-game appearance by the original Shaft, Richard Roundtree, who looks fantastic, by the way.

The Goldfinch is stoic and sad, occasionally brilliant and more often confusing.

This is a complex man and artist worthy of a complex story, not a would-be-feel-good farce.

The 355, directed by Simon Kinberg (“X-Men: Dark Phoenix”) who co-wrote with Theresa Rebeck (“Smash”), is not an instant classic by any means. It is, however, a straightforward and solidly entertaining spy thriller that (mostly) avoids the impulse to pat itself on the back too obviously.

Slumberland is not a terrible movie and it may very well spark your imagination or tug at your heartstrings (though sweet kids crying over dead parents is about as low-hanging as the fruit can get). But it also could have been so much more had it not gotten so bogged down in its own superfluous flash, which, by the end, just feels exhausting.

The story is not only derivative of so many other dystopias and kids with power sagas, but, and perhaps worst of all, it never even really gets going — a clear and infuriating set up for some future installment.

The one saving grace is King, a genuinely delightful young actor who manages to hold your attention and empathy even if her underwritten character barely deserves it.

There’s only so much heavy lifting a picturesque location, photogenic bodies and enviable resort outfits can do to make up for a lame story.

For a movie so excited to tell a story about the CIA’s “most highly-prized and least understood unit,” it sure doesn’t do much to ensure you leave any more informed than you were when you sat down.

while “Junior” does look pretty good for a computer-generated approximation of a 23-year-old Smith, it’s hard not to wish that all the time and money spent on this gimmick might have been put toward making sure the script and story were at least engaging and entertaining. As it stands, Gemini Man is a lot of show, but there’s no life behind the eyes.

If the idea was to make something for the moms, “Oh. What. Fun.” is about as thoughtful as a hastily scribbled card on a piece of printer paper the morning of her birthday. We can all do better.

It was a Hail Mary to bring back the “Jurassic Park” originals. But their big meeting with the “Jurassic World” cast has the unintended effect of reminding how little we have come to care about the new cast.

Mario creator Shigeru Miyamoto and Illumination founder Chris Meledandri, as producers, seem committed to keeping things light and playful even while beholden to advancing some kind of coherent, moderately compelling story where there wasn’t one previously.

Like a drug store chocolate bar, it just is. It might not be good for you, but it’ll go down shockingly easy, give you a minor sugar high (and possible headache) and disappear from your memory just as quickly, leaving you defenseless for when the inevitable sequel comes along.

Poms really wants to be a sweet movie with a sweet message, but it’s hard to buy into it when none of the squad gets significant backstories, inner lives or even enough dialogue to give them distinct personalities. They’re just there to be punching bags for other characters and the movie.

The significant and seemingly random changes, embellishments and omissions make you wonder why they even needed the tether of Nowak in the first place.

Your enjoyment of the new Netflix comedy Coffee & Kareem may depend on whether or not you find insanely vulgar middle schoolers funny. It’s not just cursing either. Oh no, this is a whole symphony of vulgarity that would make Seth Rogen blush.

For how reliant this movie is on screens and keeping Pratt alone, one might assume that “Mercy” was a socially distanced, COVID-era leftover instead of something made in 2024.

Artificiality as an aesthetic is all fine and good, but Love Hurts feels a little too much like the charmless, ripped-from-the-Magnolia-showroom homes that Marvin is hawking to perky yuppies around Milwaukee.

Old Guy feels very of this moment in the fact that it looks good and has a good cast and yet can’t seem to deliver something that’s either entertaining or meaningful. But unlike so many of its peers, this one amazingly was not made by a streamer.

There wasn’t a great reason to take another shot at Firestarter. Besides, even if it’s lacking in originality, it’s also lacking something even more important: A personality.

If an algorithm designed a classic, big-screen spectacle for the small-screen age, “The Electric State” probably wouldn’t be too far off the mark.

Peppermint is not some model of equality, it’s just violent escapism that happens to have a woman in the lead role. And, frankly, as long as this genre continues to entertain audiences, Garner is a compelling a lead as any, and more so than quite a few of the men who get so many parts like this. But maybe, just maybe, next time consider a woman or two behind the camera (and script) as well.

It’s exactly the kind of big, silly, occasionally exciting spectacle that have come to define summer movie season, for better or worse. There’s even an opening for a sequel.

It’s too bad because there could have been a more fun movie in here — Clarkson imbues it with a distinctly feminine and teenage energy that makes good use of its soundtrack. But it spins itself into a knot trying to justify a silly story instead.