Richard Roeper

Even though it is quite likely the longest romance in movie history in terms of the time period covered, the one-point premise is stretched washi paper-thin over the course of just 92 minutes.

Directed with grace and grounded style and a keen eye for outdoor visuals by Anders Lindwall, and filmed in beautiful Door County, Wisconsin, this is a warm and authentic slice of farm life, with magnificent work by the 80-year-old Craig T. Nelson, who looks every inch the world-weary Wisconsin farmer.

Ferrell and Witherspoon play off each other with impeccable timing, and the supporting cast (which includes a couple of celebrity cameos) is universally terrific.

Companion is darkly funny and has some great jump scares, but it’s also a meditation on how some men have a default switch that makes it far too easy for them to be manipulative and abusive.

This is a serviceable, suitably gory and intermittently scary film with some solid action sequences.

Based on a true story, this is a tribute to the strength of a matriarch who doesn’t have time to grieve or feel sorry for herself. She has children to love and protect.

Everything we witness in this film is literally seen through the point of view of a spectral presence, but it’s the machinations of a deeply dysfunctional nuclear family that makes it all so intriguing.

Director Seth Gordon (“Four Christmases,” “Horrible Bosses”) knows how to film fast-moving comedies with star appeal, and Diaz (who hasn’t lost an ounce of onscreen charisma) and Foxx are terrific together, but wouldn’t it have been lovely if they had tackled more creative and challenging material?

Just as Whannell breathed new life into the story of “The Invisible Man” in 2020, he offers a fresh and grotesquely chilling take on the well-trodden storyline of the man who becomes ... something else.

So, if we’re in the mood for an R-rated, sometimes cartoonishly violent, occasionally salacious comedy where you know some jokes will score and others will land with a thud and we’ll just move on to the next scene, here’s your ticket.

Even though events have been compressed to fit a 22-hour timeline into a 94-minute movie, and some conversations and characters are fictional, there’s never a moment when it feels as if events have been amped up or overcooked.

We know exactly where this story is going, and we're happy to come along for the ride.

Even with the occasional stumble and that self-indulgent running time, this is a unique and at times brilliant piece of work.

It’s not shocking or groundbreaking or attention-getting; it’s just consistently good at telling the story of a handful of characters who feel fully lived in and utterly real.

It is a not a viewing experience one shakes off easily, nor should it be.

All well and fine, but it’s a dark thrill to see the return of the fantastically gnarly, nasty, disgusting, humorless and utterly post-human vampire — the O.G. Dracula — in the gothic horror feast that is Robert Eggers’ “Nosferatu.”

Whereas so many of these films end with the big game/fight/match and a freeze-frame moment of glory before the credits roll, The Fire Inside is finding another gear.

Babygirl works primarily as an unapologetically and outrageously bold and sexy thriller.

Timothée Chalamet gives an Oscar-worthy performance in one of the best films of 2024.

With “Mufasa,” the visuals are screen-popping and glorious and stunning to behold — but yes, you either go with the idea of these realistically rendered lions dialoguing in English and occasionally bursting into Broadway-esque tunes, or you don’t. If it’s not your bag, nothing that happens here is going to change your viewpoint.

Carry-On is a sharp, smallish thriller with some big and satisfying payoffs.

Clocking in at a slow-jog time of 2 hours and 7 minutes, filled with howlingly bad CGI creations, green-screen scenes that would have looked rudimentary in the early 2000s and clunky dialogue, “Kraven” doesn’t even provide much in the way of camp value. It’s just an undercooked pile of steaming mediocrity.

What elevates “Dirty Angels” to the status of a solid slice of R-rated action entertainment is the stellar cast led by Eva Green and the surehanded direction from 81-year-old veteran Martin Campbell, director of the Bond films “GoldenEye” and “Casino Royale” (which co-starred Green as Vesper Lynd) and most recently, the Liam Neeson-starring “Memory.”

This isn’t so much a traditional musical drama a la “Wicked” as it is a turgid, heavy-handed and preachy melodrama interspersed with musical numbers that are serviceable but hardly memorable.

Unfortunately, “Y2K” fizzles out somewhere around the halfway point, in part because the characters aren’t fleshed out much beyond familiar tropes, and the screenplay seems not quite finished. It’s as if the filmmakers ran out of fresh ideas at some point but just plowed ahead anyway.

Director Garret Price (“Woodstock 99"), who is clearly a fan of the music, nimbly weaves in current-time interviews with Christopher Cross, Kenny Loggins and various session greats and producers with archival footage.

If you’re a Chiefs fan, you’ll probably get a kick of out the whole thing.

Alas, the songs are more on the level of Lara Trump than Taylor Swift in this corny romance between Bowyn and Laith Wallschleger’s pro football star.