Lindsey Bahr

A bizarre and transfixing carnival of vulgarity and vice.

Fennell clearly has so many ideas swirling around, which is fitting for a story like Wuthering Heights. And yet as a viewing experience, it is an undernourishing feast, neither dangerous nor hot enough.

It’s so sincere that it’s hard to pick on Wendy for some wheel-spinning, or even the sullen whimsy of it all. It’s headed somewhere good and worthwhile: This ending could warm the hearts of even the most grown up grown-ups in the audience.

Despair is not quiet for a broken father (Aaron Paul) and his troublemaker sons in Kat Candler’s brisk, transfixing drama, which takes place in blue-collar southeast Texas.

Megalopolis is not a disaster, but it’s far from a success. It’s a bacchanalia that’s bursting with so many ideas, so many characters, so many great lines and truly terrible ones as well that it’s nearly impossible to digest in a single, baffling viewing.

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.

You’re always waiting for the movie to really get going. It’s shot like a political thriller without the thrills.

Pathos and action are found in equal parts in The Adam Project, the latest attempt by Netflix to create the kind of throwback blockbuster that you might have paid to see in movie theaters.

This is a piece about characters and Winslet gives her actors space to build people that by and large feel pretty real — the standouts are really Flynn, as the sensitive son still living at home and closest to his parents, and Spall, believably oblivious in that charmingly British way.

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

What separates “12 Strong” from the pack...is its ability to introduce and stay with a band of brothers worth caring about.

Maybe the movie will direct some eyes toward the existence of the Arthur Foundation, but while the movie goes down easy enough it is, on the whole, a bit unsatisfying.

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

Alexander is pleasantly devoid of the vulgarity and too-current pop culture references that are the default mode for many contemporary live-action kids' pics, and its earnest celebration of family gives the movie a comforting throwback vibe.

Huppert seems to be enjoying herself fully leaning into Greta’s insanity, so perhaps this one can get a pass. She helps elevate the film from its self-consciously B-movie roots to be something that’s actually pretty good.

It’s a little by-the-book — exactly, perhaps, what you might expect from elevated historical fiction aimed at young adults. Being a good-hearted, straightforward film that might even have you shedding a few tears is no crime against cinema.

Despite an A-list roster of talent, including people behind the scenes who theoretically should know how to resurrect this brand and move it forward, Terminator: Dark Fate is just another bad “Terminator” movie in a string of bad “Terminator” movies (although better than “Genisys”).

Empire of Light may be a love letter to the movies, but it’s a sad one in which one of the parties, the local, independent movie theater, is fading away and possibly already gone.

Nothing much in Life Itself feels like life itself. It is too polished, too winking, too big and too much to be all that relatable, even with a cast as appealing as this.

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

The film does a good job balancing the drama with the comedy however, and is helped by a strong supporting cast, including Lil Rel Howery and Anthony Carrigan as Matt’s best friends.

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.

Fly Me to the Moon is best when it’s not taking itself too seriously. And the most worthwhile concept it sold is the idea of Johansson and Tatum (which, by the way, is a great reminder to rewatch “Hail, Caesar!”) as a modern Day and Hudson. They have the charm. They just need material that does it justice.

This is a popcorn movie, with a surprising turn from an underrated star. And ultimately, it’s a pretty fun time at the theater.

And for all the comedic talent in the film, from Curtin to Lloyd, who seem game for anything, there are precious few genuine laughs to be had. Perhaps the script should have allowed for more improvisation.

Squibb and Kellyman, both terrific, are the real reasons to seek out “Eleanor the Great.” The film may trip over its own contrivances but their performances will leave you moved.

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.

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.