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.

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.

It’s not a perfect film, it lags at times and at over two hours it is far too long, but Theron and Rogen have a natural chemistry that makes spending a couple hours with them, even in the dullish moments, a joy.

The Legend of Ochi, a scrappy and darkly whimsical fable about a misunderstood teenage girl on a dangerous quest, has the feeling of a film you might have stumbled on and loved as a kid. Something tactile, something fantastical and, maybe, something a little dangerous — the kind of movie you knew you probably weren’t supposed to be seeing just yet.

While I certainly enjoyed elements of this odyssey in reverse, I was ultimately left feeling very little — especially about Chuck and the questionable end-of-film explanation that ties it all together.

There are quite a few good pieces and performances in Don’t Worry, He Won’t Get Far on Foot, but, ultimately, it also has the feeling of a first or second draft that isn’t quite where it should be.

Saving the showstopper for last will certainly leave audiences exiting the theater on a happy high note. But it’s hard to shake the feeling that in attempting to tie everything together, “Mission: Impossible” lost the plot.

The Kitchen may lag at times, but it’s an astonishing and fully realized feat for two first-time feature directors with beautifully raw sequences of both emotion and action.

[Anderson] is still that open book, disarmingly funny and candid and uncynical, sitting there beautifully makeup free, letting the filmmakers and audience peer into her soul through many pages of journals going back to her childhood. It is a captivating watch, especially for those who never thought much about her at all.

There is more good than bad in Mulan, and we should be so lucky to get a gorgeous and inspiring war epic that is suitable for children to watch. Mulan might even inspire some kids to dip their toes into all that Asian cinema has to offer, which would be the best possible outcome. But something has to give in this blind fealty to the animated films, because it’s getting in the way of greatness.

Everyone knows this story and how it turns out. But “Cyrano” does a wonderful job of letting you cling to the hope that it might go differently, as agonizing as it might be.

A surprisingly delightful film full of action, heart, a crazy-haired Patrick Stewart (as “old” Merlin) and a few genuinely good gags.

A charismatic ensemble cast, a sharp script and a few well-placed twists make Game Night one of the more enjoyable big studio comedies in recent memory.

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.

This movie will not be for everyone, but it is important not least because it continues to advance the discourse around miscarriages which is a trauma that couples, but mainly women, have been expected to shoulder in secret for far too long.

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.

If you must reboot an over 30-year-old Disney Channel cartoon like Chip ’n Dale: Rescue Rangers, you could do much worse than looking to “Who Framed Roger Rabbit” for inspiration. But it is a high bar and though Chip ‘n Dale might not reach the heights of that Robert Zemeckis film, it is still a pleasant surprise stuffed to the brim with pop culture references that children of the Chip ’n Dale era may enjoy.

Hallgren weaves together a compelling narrative with these public and private interviews that builds chronologically to the present.

It might not be the best of the bunch, but the infectious childlike spirit (and intestinal fortitude) remains firmly intact.

It has the makings of a stealth classic.

While it might not be on the same level as Bridge of Spies, it’s solid, well-acted and enjoyable nonetheless.

I’m not sure just how much more the studio can mine out of this concept that was once so brilliant. But happily, The LEGO Movie 2 doesn’t destroy everything the first worked so hard to build. It’s just trying very hard to be exactly the same.

Chung, a filmmaker best known for the comparatively small “Minari,” has made a solid film with escalating action sequences that look great on the big screen.

While “Magazine Dreams” is an interesting character study, one many actors would love to play for all its dramatic opportunities, it also seems crafted entirely to provoke and shock — especially in the almost unbearably bleak final hour.

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.

Bursts of intense violence are punctuated with sometimes tedious blocks of speeches and silence, but Hostiles, despite its posture of brutal amorality, has a goodness at its core, of understanding and empathy. It also has something that so many sequel and franchise-hungry studios today wouldn’t dare show — an actual ending.

It feels strange to want a movie to be longer, but in the case of Last Breath I was both desperate for it to end, for anxiety reasons, and also wanting more.

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