Lindsey Bahr

The film is at its best when it’s about the bond between the women, but it’s a theme that doesn’t hit home until far too late.

Written and directed by Eugene Ashe, Sylvie’s Love is an ode to classic melodramas, with sumptuous set design, gorgeous costumes and an enveloping soundtrack of mid-century hits.

It’s hard to overstate just how much the relative success of this film comes down to Hardy and his go for broke performances as Eddie and Venom.

Like a haphazardly planted garden, it’s lot of ideas that don’t seem to create anything terribly coherent but it has its individual pleasures nonetheless.

It’s a sort of spiritual companion to Edgar Wright’s Cornetto trilogy, blending horror and thriller elements with absurdist comedy.

The film doesn’t quite earn the emotional catharsis it seems to be striving for. It’s a little too insane and also underdeveloped, especially Piper’s character, to let the audience in on that level. But if you’ve come for unexpected scares and creativity, “Bring Her Back” will not disappoint.

In playing it so safe and so familiar, “Elio” is missing a bit of that Pixar wonder, and mischief.

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.

Ultimately it does work, but “Dog” is a movie that is trying to do quite a bit, and perhaps bites off a little more than it can reasonably handle in 90 minutes.

Directed by Anne Fletcher, Hocus Pocus 2 goes down easy — though by the time the entire town breaks out into a dance to “One Way or Another,” you may be ready for the film to get where it’s going. Still, it’s a fun enough ride for a fall night.

I spent over two hours with Captain Marvel/Carol Danvers and I still have no idea what her personality is. Sure, there’s a lot more going on in Captain Marvel, but it’s a pretty egregious failing considering that the creative bigwigs at Marvel had 10 years and 20 films to work it out.

Compelling performances make Palmer watchable and fairly affecting despite the fact that we’ve seen this kind of thing so many times before.

The Banker is a pleasant watch.

Nonnas, like comfort food, may be a little obvious, a little safe, but that’s the point.

It’s a promising debut from Tøndel, nonetheless — a film that will keep you engaged if not entirely satisfied.

Six Minutes to Midnight is entertaining enough if a little underwhelming.

Perhaps the most striking aspect of the film is how prophetic it is. Although it doesn’t offer any reflection on the current moment, it also won’t come as a surprise how we got here.

A solid film with a few good gags and a fair amount of heart.

What does it say about a nearly two-and-a-half hour drama when the 80-year-old footage from inside Nazi concentration camps that was shown inside the real courtroom is the most compelling and memorable sequence?

Theater critic as tyrant is a juicy premise; “The Critic” just can’t live up to the promise.

Ultimately, Spiderhead just seems a little unsure of what it is or what it’s supposed to be.

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.

Haunted Mansion is by no means a terrible movie, or even an unpleasant watch, but it’s just missing the magic that makes the trip to the theaters (or Disney World) worth it.

Voyagers is simply a semi-effective thriller with about as much emotional intelligence as its lab-produced, hormone-controlled, sequestered youngsters.

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.

What is most surprising about the latest Charlie’s Angels, which was written and directed by Elizabeth Banks, who also plays the part of Bosley, is how little the “go girl” feminism of the 2000 film has evolved in nearly 20 years. Blame society or a lack of imagination on the part of the filmmakers, but there is nothing all that new about the ideas here.

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.

Conor Allyn is clearly a talented director and has a lot of reverence for the Western genre, but for as good and lofty as it’s intentions are, No Man’s Land comes up short.