Odie Henderson

Ip Man 3 also sneaks in welcome moments of mushy romantic sweetness between Master Ip and his wife, Cheung Wing-sing (Lynn Hung).

Dicks: The Musical is a three-star movie with a midnight crowd and a two-star movie when viewed at 3 p.m. My star rating splits the difference.

The Aviary experiences a drop in quality during its attempts to goose the audience, but its two lead performances remain consistent.

As per sequel rules, everything has to be bigger. But bigger doesn’t always equal better, as Extraction 2 proves.

Despite an impressive pedigree in front of and behind the camera, “Shirley” fails to convey just how remarkable the career of Shirley Chisholm really was. The problem isn’t the narrow focus on one of her accomplishments, it’s the even narrower depiction of who she was as a person.

Those looking for a courtroom drama or the emotional tugging that might result from a mother’s 30-year fight to get justice for her daughter will find little to chew on here.

This is heavy material, to be sure, but it’s not without dark humor.

The Fall Guy isn’t just a throwback to the 1980s television show that inspired it; it’s an old-fashioned romp that knows how to build on its gags.

As a documentary about Lorne Michaels, “Lorne” isn’t much; it’s more of a look at “Lorne Michaels,” the character his mysterious nature created.

Viper Club is being released by YouTube Original Films, which is appropriate because it looks like it was shot and framed for the tiniest YouTube window possible. This is an ugly looking film filled with headache-inducing, shaky close-ups and questionable editing.

Inside the sci-fi dramedy Jules lurks a message about senior citizens being ignored and deprived of their independence simply because of their age. Unfortunately, the script by Gavin Steckler takes a most confounding route to get to it — one involving an alien, town hall meetings, and FBI agents who want to keep the extraterrestrial here under wraps.

Individual parts of “The Bride!” work, but as a whole, the critic in me found it confusing and irritating.

Hemsworth’s character has more action movie clichés than Carter’s got liver pills.

The voiceover work is good and, as far as franchise entries go, it’s quite watchable.

Even if you can’t stand the Minions (who are once again voiced in “Minionese” by Pierre Coffin), you might find this one tolerable. Especially if you’re old enough to get the 1976 jokes yet feel young enough to find bemusement in all the goofy slapstick.

Parents will be tortured by this film. If the whiny adult ducks and their even whinier kids don’t give them a headache, the garish animation will.

This is a very personal documentary that occasionally has the intentional feel of a home movie.

Race takes a complicated, messy story and shapes it with the bland cookie-cutter mold too often seen in the biopic genre.

Luce is the worst kind of provocateur; it tosses out all manner of outrageous ideas and then, like those pathetic dudes on Twitter, it yells out “DEBATE ME!” As soon as you accept the challenge, the film folds like cheap origami. And this film has a lot to toss at you.

This entire film is a troll, a refreshing, claws-out swipe at anti-LGBTQ+ rhetoric and beliefs. It’s also a testament to the power of queer people in front of and behind the camera.

It’s relentless in its depiction of the slapstick-infused shenanigans that will keep the little ones entranced in their seats.

Fast X is watchable, and its car chases are often exciting, but it’s not as satisfying as the best F&F movies (“Fast and Furious 6,” “Furious 7,″ and the extremely ridiculous “F9″). Part of the problem is Dante.

Director Edgar Wright’s version is a more serious affair that not only has a duller hero than its predecessor, it’s also a half-hour longer.

When Fennell swaps in her adult actors, the cracks start showing immediately. While strikingly attractive on their own, Elordi and Robbie have zero romantic chemistry.

Aunt May is such a delectable force that the audience waits with baited breath to see if she’ll do what we’d expect from an auntie. And she always does; her consistency is the warmest form of comfort.

The three leads do a good job creating their characters, with cinematographer Kristian Zuniga giving each of their tales a specific look and color scheme. But this also suffers from that indie fever where the camera and framing goes askew and "documentary style" for no reason except to distract you from how familiar the story is.

The Boogeyman becomes an exercise in diminishing returns, though it is not without its pleasures.

You've seen all this before, and many times. 2 Guns works because it's essentially several riffs on familiar material. Cliché is not a bad thing if it's done right.