Lindsey Bahr

There were some lofty ideas behind “Immaculate” that seem underserved (about bodily autonomy and such) and she gets several memorable movie star moments, but I want more for Sweeney than whatever this adds up to.

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.

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.

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.

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

These are interesting and fraught times that deserve an unflinching look at the perils of data rights and online privacy, but The Great Hack is a reminder that documentaries are not always journalism.

At a certain point, it becomes clear that not only is The King’s Man a tonal mess, it’s also just a set-up for a movie with an even more enticing cast that’ll leave you feeling even more conflicted.

Raimi doesn’t take “Doctor Strange” to an entirely new tonal place, like, say Taika Waititi did with Thor. He mostly sticks to the framework established by Scott Derrickson.

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.

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.

It Lives Inside is still a welcome respite from the other long-in-the-tooth horror franchises populating theaters this time of year in that it’s just something new – new faces, new themes, a promising filmmaker to watch – but I wish it would have embraced more of the things that make it unique as opposed to trying to fit in with its genre brethren.

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”).

Knowing that the story comes from a real place is important for the experience. It gives “My Mother’s Wedding,” a perfectly average film that doesn’t quite land the way it should, an emotional depth that it’s otherwise lacking.

Walt Disney Animation’s Wish is stunning to look at with textured and rich watercolor-inspired animation and easter egg treasures for audiences nostalgic for the classics. But it is also more concept than story: A strained and forgettable attempt to pay homage to the studio’s 100 years.

Five years after we just went through (at least a lot of) this, “Eddington” somehow seems both too late and too soon, especially when it offers so little wisdom or insight beyond a vision of hopelessness.

The movie could have benefited on a little focus and not so much fan service, especially considering how good all of the ensemble actors are in these roles. Perhaps that’s why Fellowes couldn’t choose just one.

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

Taylour Paige is phenomenal, for one. The movie, though, is a bold and admirable experiment that doesn’t totally work.

This seems designed to be a minor Marvel – a fun enough, inoffensive, largely forgettable steppingstone — a get-to-know-them brick on a path only Kevin Feige has the blueprints for.

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.

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.

Ultimately “Day One” could have been set around any old apocalypse. Tethering it to the rules of “A Quiet Place,” a smart premise whose novelty is impossible to recreate let alone build a world upon, just holds it back.

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.

Good Fortune has its heart in the right place, but it lacks a spark and internal engine that might have made it more entertaining, and ultimately impactful.

This is a movie that should have probably leaned far less on wild hijinks with diminishing returns and more into the smaller moments of what it means to be friends for 40 years. But it’s not without its charms, either.

Despite the admirable ambitions and the prestigious names involved, including stars Keri Russell and Jesse Plemons as well as producer Guillermo Del Toro, it doesn’t really work either as metaphor or engaging, thought-provoking entertainment.

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.

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.