Odie Henderson

I liked the “Freaky Friday” remake. It had some real emotional heft to it, much of it due to the excellent performances by Curtis and Lohan. This time, all the characters are one-note, especially the teenagers.

Directors Pierre Perifel and JP Sans keep the action moving while allowing the performers and the animators to shine.

Nothing will replace the original in your hearts and minds. But you’ll still have a good time here.

As it adds extraneous characters, “Oh, Hi!” becomes so frustrating and unbelievable that I wanted to yell advice at the screen.

Fantastic Four: First Steps alternates between battle sequences that you’ve seen countless times and interminable scenes of exposition disguised as emotional beats. The actors play this poorly written material as if they were doing Ibsen, which is commendable, but their attempts fail because you truly don’t give a damn about their plight.

Your kids will probably love this movie, which means you’ll be watching it often. Excuse me while I giggle with unSmurflike malice.

Despite a high body count, director-cowriter Jennifer Kaytin Robinson’s version is not gory enough to satiate gorehounds. The atmospheric cinematography, by Elisha Christian, and the bombastic score, by Chanda Dancy, fail to accompany or elicit a single good scare.

Familiar Touch accomplishes a lot in just around 90 minutes. By no means should you expect a wallow in misery. Like its protagonist, the film refuses to go gentle into that good night. Its defiance is tempered with dignity and grace.

Seeing Superman save, and work with, more than just white people is refreshing, but it really struck a nerve with fans who rely only on hearsay. Gunn doesn’t care if you’re offended; he’s too busy showing us a good time. “Superman” is a surprisingly entertaining reboot.

There are no grandiose moments here, only little ones that, cobbled together, create a moving and profound experience.

The true stars of “Jurassic World Rebirth,” the dinosaurs, are often left unidentified; we’re not sure if they’re real or some genetically engineered, made-up monstrosity. The film is so disinterested that it simply throws them onscreen with occasional bits of human beings stuck between their teeth.

I would be much harder on this movie if I didn’t have such a good time watching it. Admittedly, it’s ridiculous, but I absorbed all of its haphazard chaos with a huge smile on my face.

Thank goodness for Method Man, who understood the assignment and made the film watchable and fun whenever Jordan showed up. When he isn’t on screen, “Bad Shabbos” is a mediocre movie.

While I enjoyed “Elio,” and I appreciated the animation and Rob Simonsen’s lovely orchestral score, I felt that this film was more tailor-made for adult sci-fi fans rather than their young kids. To be clear, I’m not saying you should leave your kids at home — there’s nothing objectionable here. I’m just saying they might be as bored as you usually are at some of these movies.

I’m on the fence here. I enjoyed the animated version of this movie quite a bit, so I’m torn between being happy this film was nowhere near as bad as I’d expected and being frustrated that I sat through a carbon copy. Your enjoyment will depend on whether your Toothless nostalgia has a full set of teeth.

Song deconstructs rom-com tropes in service to a much meaner drama, with unlikable characters, a flimsy love triangle, and a dark subplot that is poorly handled.

As a big fan of the franchise, I admit I had a good amount of fun watching “Ballerina.”

Though Courtney and Harrison give their all, this is a slick-looking yet routine exercise that wastes an ideal premise.

It’s one of this year’s best movies. I don’t know how it will fare at the box office, but I can see it becoming a beloved favorite in the same way “The Shawshank Redemption” ultimately did. Like that classic, this one really makes you think about life and the things we take for granted.

After watching the worst Anderson movie yet, I was envious of the guy who blew up; he got to leave after only two minutes of this wretched comedy, the title of which sounds like a Robert Ludlum novel adaptation.

While I was never bored, I felt somewhat disconnected from this movie. It’s not that I wasn’t engaged or involved — I enjoy when a movie makes me work for its pleasures — it just felt like I was missing so much and left me wishing I’d seen more of the director’s movies.

Even at a mercifully short 94 minutes, this movie is exhausting. That would be fine if it weren’t also overly sincere, familiar, and dull.

Even if I like the film, as I did with “The Little Mermaid,” I still conclude that corporate greed is the sole reason for its existence.

Once “M:I-TFR” kicks into action mode, the film becomes riveting as we await whatever crazy stunt Tom Cruise is going to spring on us.

Robinson’s dedicated commitment to the bit is a given, but the bit is so one-dimensional that Craig stops being believable or human.

By the end of “When Fall Is Coming,” we recognize the film for what it is: a character study elevated by Vincent’s superb performance.

I’m tired of this stereotypical depiction of autism. It’s as if Hollywood has to assign superpowers to people on the spectrum in order for them to be accepted by mainstream audiences.

The Legend of Ochi is being pitched as a family movie by A24, but I don’t believe most kids would enjoy this slow-moving slog set in the Carpathian mountains.