Mark Kennedy

Fitting for a movie with an actual skeleton in a closet, “Adulthood” is about legacy and how we become our parents. It’s also about recognizing that our parents are human and complicated.

As it races to its cool supernatural climax — and then a coda that connects it to the first film — “The Craft: Legacy” is firing on all cylinders, looking back respectfully but also showing how the same story in different hands can soar.

The filmmakers are also clearly trying their hand at satire, but ham-fistedly. Set during the Reagan-era “Just Say No” period, “Cocaine Bear” hopes to remark on the demonization of drugs and it also seems to have something to say about how humans misunderstand the balance of nature. Neither work.

But It Ends With Us doesn’t end quickly enough — more than two hours drag — with tangents and poor editing, like sudden scene cuts that leave viewers looking for clues to where they are.

The film crams in so many plot lines that it risks being overstuffed but somehow stays true to its mesmerizing vision and emerges as a sci-fi success, if not a triumph.

It’s pretty clear after watching the new live-action Aladdin that doubts about Will Smith’s casting as the Genie are overblown. It’s the guy behind the camera who should be doubted. And stuffed into a small lamp forever.

Here DeMonaco finds richness in flipping the script on traditional right-wing notions of the border and immigration.

This very American fable has been blessed with three remarkable performances.

Disney should have left the original alone.

The Tender Bar is a gentle, oddly crafted but loving look at men, fueled by a soundtrack of classics like Paul Simon’s “50 Ways to Leave Your Lover” and Steely Dan’s “Do It Again.” It’s a valentine to guys who step up.

While the franchise soldiers on unironically, the films may fail to keep up with the real world, where fears have metastasized.

You’ve played Pokémon Go, right? Call this one Pokémon Don’t Go.

This dark, meandering and cliche-ridden bummer starring a trying-hard Jennifer Lawrence tries to reach for a cool and stylish look at contemporary spycraft but often falls victim to cartoon violence and a muddled story. The creators may call it erotic but it’s as erotic as a visit to the dentist.

Zhao, whose film Nomadland was everything this is not — spare, naturalistic, moody — struggles with so much going on. The fight scenes are repetitive and the dialogue often stilted.

Director Kyle Marvin fails to build any real tension as he frighteningly shifts from farce to cringe to melancholy, but real footage of the big game is nicely knitted into the second half.

A Working Man is exactly what you expect when you unleash Statham on a noble mission.

Ackie’s performance is something to be cheered, reaching for the the kind of authenticity that Andra Day channeled when she also tackled a doomed musical icon in “The United States vs. Billie Holiday.” But so much clumsiness, scenes featuring unnaturally heightened drama with little insight and the compromised authenticity of the performances drag I Wanna Dance With Somebody down — ultimately, it’s not right but it’s just OK.

Despite its flaws, this movie reminds us all of the sacrifices made by soldiers and to be mindful of how we treat them when they come home.

Project Power nicely mixes elements of sci-fi and crime thriller to create a cool trip with a wink, set against a soundtrack that includes 2 Chainz, Nipsey Hussle and Curtis Mayfield.

Credit goes to the film’s visual effects folk, who made fur alive and gave texture to smoke. But retreading this story with a Cumberbatch, should send Hollywood bigwigs into the booby hatch.

Slack when it should be terrifying, “Wolf Man” suffers from cheap sentimentality, laughably obvious script reveals, poor continuity and a creature that is less predatory than painful. Pity comes to mind.

Now You See Me: Now You Don’t does what sequels apparently must do these days — load up the characters, return to favorite bits and go global — but nails the trick, a crowd-pleasing return that already has a fourth in the works.

They Will Kill You may remind you of the marriage between madcap, social satire and bloody mayhem from “Ready or Not” but it’s a warning of how hard that combo is to get correctly.

The Hunt is not great satire or even a great film. It’s an unstylish and heavy-handed horror-thriller that turns into a revenge gore-fest as it mocks everyone with a big clumsy paw.

Fuqua is a lyrical director who directed Washington to an Oscar in “Training Day.” He’s not afraid to spend time in the still darkness with McCall and likes to focus on small moody elements, like rain hitting the gutters. But he can also deliver red meat: A sequence in which McCall fights off a passenger in the back seat of his car is a mini-masterpiece of taut, sinewy direction.

Shelter is everything you expect a Jason Statham movie to be, no more and no less.

Hill and “black-ish” creator Kenya Barris have written a rom-com with teeth, a film not afraid to air long-simmering cultural grievances.

Henson does as best she can with this material, attempting Lucille Ball-level physical comedy. But she’s laboring and often overshadowed by the one unpredictable spark in the film — provided by Erykah Badu.