Matt Singer

Reitman clearly made this film from a place of love and admiration for the institution of SNL and the people, then and now, who produce it. He might get the facts wrong at times; what he gets right is the feeling that every fan who grows up watching SNL imagines the show is like behind the scenes — giddy and chaotic and brimming with passionate creativity.

At pretty much every step Folie à Deux feels like one big middle finger to fans of the original movie. I just wish it was less of a middle finger to the rest of us at the same time.

The best vocal performance in Transformers One by far comes from Brian Tyree Henry, who puts so much feeling into D-16 rapid transformation into the menacing Megatron that you almost buy that he goes from Orion’s loyal bestie to his sworn mortal enemy in the span of about 10 minutes.

When you have Carrie Coon, Elizabeth Olsen, and Natasha Lyonne as your central stars, some things don’t need to be said out loud.

It takes way too long — nearly an hour of a 105-minute movie — for Beetlejuice Beetlejuice’s actual story to emerge and for Keaton to take center stage again. Once he shows up, though, Beetlejuice Beetlejuice springs to life. Er, make that afterlife.

It’s as if remaking a John Woo movie finally gave John Woo permission to make a true John Woo movie again.

What’s here isn’t necessarily boring or bad, but it represents a back-to-basics approach for Alien that feels like a betrayal of something central to the Xenomorph’s toxic DNA, which is forever mutating into another deadly creature.

Back in the day, the endless comparisons between Shyamalan and Hitchcock felt like a bit of a trap themselves. With Trap, though, there’s no point trying to escape them.

Murphy is really on his game; way more than I expected after 30 years. This is not Eddie Murphy in a Detroit Lions jacket sleepwalking his way through a big Netflix paycheck; it’s Axel Foley improvising his way through one crisis after another. And that’s fun.

West does so much winking at the audience that he doesn’t leave much time to gaze into the darkness the way a truly scary horror movie does; MaXXXine’s moments of shock are surprisingly few and far between. As a result MaXXXine is rarely as disturbing or as effective as the earlier films in this series.

On the whole, Inside Out 2 lacks the structural elegance of the first film, and it holds far fewer surprises for viewers on a narrative level. Still, whether you call them anxieties or fears, Inside Out 2’s depiction of tween insecurities is right on the money.

Bad Boys was written off for good after Bad Boys II, and yet here we are more than 20 years later, with two solid sequels in four years. Somehow, these guys really have become Bad Boys for life. And perhaps even beyond that.

In another franchise, it would stand as a significant achievement. In this franchise, it almost qualifies as a disappointment.

It’s a movie that loudly yells at audiences they need to have some fun, while not actually providing any fun itself.

There are some scenes here as lively and as thoughtful as any in this great series’ history. But then that final sequence reminds viewers that this is a franchise still thinking about the way things were, and not with the way things are — or could be in the future.

It’s such a pure-hearted celebration of movie magic it makes you want to make your own film — or at least watch one.

Patel’s desire to make something more than a straightforward action film is admirable, especially since he had to juggle responsibilities in front of and behind the camera simultaneously to do so. Monkey Man suggests he’s got potential as a filmmaker in the future. In the present, his directorial debut is the sort of genre exercise that makes you realize creating a “straightforward” action movie is not so straightforward.

The era Enter the Clones of Bruce chronicles wasn’t that long ago, and yet it feels entirely alien to our own.

Godzilla x Kong: The New Empire serves one valuable purpose: It proves once and for all that bigger is not better.

The movie around him is a mess at the best of times and a disaster at the worst, but Aykroyd always looks like he’s having fun, even if no one else is.

Zendaya gives an incredibly rich performance as Chani . . . Her mostly silent performance in the movie’s final scenes is really remarkable — all the more so because it grounds this epic story in the emotions of this one person. Watching Paul through her eyes shifts Dune from a hero’s journey to a cautionary tale.

After this boring and unsatisfying debut, it doesn’t take clairvoyance to see this franchise has no future.

Rebel Moon is the kind of movie that seems overwrought and underbaked all at once. So much care has been given to the style and the design of every little element of the sets, the costumes, and the props; yet so little concern has been given to populating all those background elements with fleshed-out human beings with lives that feel like they exist beyond the edges of Snyder’s immaculately composed frames.

This whimper of a farewell somehow feels right. It also feels like a mess — if an endearing one at times— that has been heavily reworked in the editing room.

Durkin, a self-described wrestling fan from childhood, has managed to stuff a moving tribute to the art form and its practitioners into a two-hour feature. There’s just so much story to tell here.

This couple’s connection feels authentic and lived in — but I must confess that at a certain point I began to feel like an additional dimension was missing, some sort of tangible connection between Bernstein’s outward persona and his marital stresses, or between his sexuality (and the steps he took to hide it) and his musical output.

Of course, making food that looks effortless requires enormous effort. Menus-Plaisirs - Les Troisgros is a movie about that effort; about the hours and days and months and years of sweat, thought, choices, and practice required to produce something worthwhile — great food, certainly, but really any work of art.

At times, Napoleon is a costume drama. For long stretches, it is a bloody war film. And occasionally — in its best moments — it becomes a sordid and twisted love story about the unbreakable bond between two people: Napoleon Bonaparte, played by Joaquin Phoenix, and his wife Joséphine, played by Vanessa Kirby.