Lindsey Bahr

Majors is certainly chilling and captivating, but Kang seems like a mismatched foe for a standalone Ant-Man film and the result is a “Quantumania” that is trying to be too many things.

Tomb Raider is an often fun and visually compelling action pic, that is also sometimes unintentionally silly, with a great actress leading the whole thing.

It’s still a satisfying and fun tribute to someone whose impacts on modern food culture and celebrity are still being felt. Just don’t go in hungry.

A Good Person seems to belong to a uniquely Dan Fogelman-esque subgenre of hyper sincere melodrama that sometimes clicks (“This Is Us”) and other times does not (“Life Itself”). Braff’s film is worlds better than “Life Itself,” but there are some similarities in how it strives for cosmic significance and ultimate tearjerking within a construct that the film tries to sell as authentically specific. In execution, it’s a bit more strained and contrived.

The film, for all its prestige and edginess, its lofty goals and contemporary messages, is not a particularly engrossing experience.

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.

Goth is compelling again as Maxine, especially in a killer audition scene, but her character feels underwritten.

“Solo” is a straightforward piece of pulpy entertainment with some very agreeable performances from Ehrenreich and Glover, who seems to be having the most fun of all the actors in playing up Lando’s suave demeanor, and fun classic Western flourishes, despite the excessively big action sequences.

You can also excuse a lot in a film that was clearly made with its heart in the right place and a deep love for all its characters, even in their messiest, most unsympathetic moments.

The film succeeds in doing what it aimed for: Presenting a humane portrait of a guy who will be serving most of his life behind bars, in crowd-pleasing packaging. But what, ultimately, is the point of using the charming parts and ignoring the unsavory ones? For a filmmaker who has never shied away from the rough edges of reality, “Roofman” feels a bit dishonest.

Though it is not easily categorizable, “Memory” is a thoughtful journey featuring very fine performances from both Chastain and Sarsgaard, who was rewarded with the best actor prize from the Venice Film Festival last fall.

Zellweger’s voice might not be an exact match of Garland’s, but the soul and spirit that she brings along with her lovely approximation will certainly elicit more than a few goosebumps.

Religion and horror are hardly novel bedfellows, but writer-director Rose Glass crafts something fresh of the construct in her promising debut Saint Maud.

Nope has also already had some critics throwing out less than favorable M. Night Shyamalan references. But it is full of vibrant life, too. It goes a long way in forgiving the reveal, which I’d even argue is beside the point. This is a film that offers a lot to chew on, which is more than most big summer spectacles can promise.

Moving On is certainly not perfect, but it’s sincerely trying to be something more than your standard octogenarian farce. You might even be surprised by your own emotional investment in this rather trim film.

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

Although it might be a stretch to categorize this as a movie, A Dog’s Way Home is harmless enough and a nice little adventure that’s fit for the whole family. But you might want to have the tissues ready.

Mufasa: The Lion King has one very important thing going for it: an original story.

You’re probably not coming to Finch for lessons, you’re coming to Finch for Hanks. The good news is that he’s not just the reason to show up, he’s the reason to stay around as well.

You needn’t have watched all five seasons of “Luther” to take a chance on Luther: The Fallen Sun. But there’s also a chance that you may find yourself wanting to afterwards.

A film like this should give life to its characters and reveal essential truths beyond the book-report versions of their existence. But Ammonite keeps you at a distance on a rather vacant, but beautiful, journey.

In a marketplace full of content and franchises, here is a filmmaker with something to say and an interesting way to say it.

Within a conventional rom-com package, the ending of which isn’t the slightest of mysteries, tropes are subverted, big questions are asked about marriage and love, and a warm spotlight is shined on Pakistani culture.

It’s perfectly enjoyable: a glossy, easy-to-digest Powell showcase that isn’t trying to be anything but fun. But the second coming of the action-comedy-romance, it is not.

It is a sobering and worthwhile film for its exploration of the subject of police brutality and race and how little has really changed in over a century.

The Amateur has a lot going for it -- but it takes also takes a while to get going. Once it does, it can’t quite maintain a level of energy and suspense needed to justify its runtime.

Sudeikis, in particular, shines in this unusually dramatic role and exhibits a depth he touched on in films like “Sleeping with Other People” and “Colossal” but that he really gets to live in here.

Though Spirited comes up short as a musical, it is still pretty enjoyable. Perhaps that’s because it is just so stuffed with everything else: If one part doesn’t totally work, there’s plenty else in the four-quadrant buffet to sample.