Lindsey Bahr

Although “Tammy Faye” may be imperfect, it does succeed in at least one significant way: We’re not just looking at her makeup anymore.

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.

Ultimately “Mike & Nick & Nick & Alice” has a few good laughs, some inspired needle drops, quirky references and a go-for-broke energy that should make it an enjoyable, low-stakes click.

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.

It’s certainly a bit whimsical and stop-and-go considering how much of the story takes place outside of the aquarium, but it mostly stays on the right side of cloying never veering into treacly “The Life of Chuck” territory. And it is all building to something, though it takes a bit of time to get there.

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.

Marry Me hangs on Lopez who is as glowing and glamorous as ever. Lopez, as they say, understood the assignment.

Turn-your-brain-off summer fun, and doesn’t need to be anything more than that.

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

A film like this, as authentic and raw as it is, should probably leave audiences in a puddle and not exiting the theater wondering why they’re not.

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.

It might not be as novel as the first, but it’s essentially harmless, if a little chaotic, fun for kids and doesn’t need to be anything more than that.

It is fun and wild at times, and Gomez fully commits to the bit of this woman who is being gaslit into insanity. But she and the film crescendo into absurdity, with little in the way of relief or catharsis.

Highest 2 Lowest may not reach the heights of some of Lee’s best films, but it’s the kind of film that makes you hope Lee and Washington have more to make together.

There are dull moments and off-putting tangents that seem to exist only to provoke, but the message at its core is a nice one about connection and empathy and occasionally uncomfortable intergenerational conversations that don’t end with someone being silenced.

While it might not knock it out of the park, Edge of the World is still a very solid watch if a little slow-going and might also just inspire you to revisit some of the classics its indebted to which is its own small triumph.

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.

Rae and Nanjiani make the ride fun enough with their easy chemistry and silly, wide-eyed panic at everything they’re witnessing. Still, The Lovebirds lacks the singularity of its stars’ other noteworthy roles.

And in spite of the absurdity, it is stupidly watchable. If you don’t know or remember the details of what went down, save the search for after. Just wear your gaudiest designer logo, order a martini at the bar and give in to the easy pleasures of House of Gucci.

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

Hokum has so many of the right ingredients going for it.

Johnson and Hart seem to have fun, too, but a fair amount of their charm as a comedic duo is lost without their physical presence — not that the audience of kids will know this or care. Parents might just be wishing they were watching this cast in live-action instead.

Molina’s main stage might be a dull, claustrophobic prison cell, but Tonatiuh’s performance is vibrant technicolor.

The word distraction has started to lose all meaning this deep into our home lockdowns, but there is a certain comfort in curling up with a big, silly action pic like Extraction. It reminds you of something you might have spent money on to see in an ice-cold theater on a hot summer day.

There’s nothing especially revelatory about Vacation Friends. There are a few genuinely good laughs to be had involving drugs, golf and a catamaran, both during the vacation and the wedding. And there’s some tedium during the inevitable falling out segment. But it’s enjoyable in a way that doesn’t make you think about lost time and experiences over the past year.

It’s a smart film, certainly, but maybe not as smart as it wants to be. And there are a couple of clunkers that bring the mostly meditative experience to a halt.

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.