Richard Roeper

While it took all these decades for “Are You There, God?” to finally gets its day in theaters, it was worth the wait, as writer-director Kelly Fremon Craig (“The Edge of Seventeen”) has delivered a near-perfect adaptation of Blume’s novel that wisely retains its 1970 setting yet no doubt will be as relevant as ever to audiences of all ages.

Alas, you can spend nearly two hours watching the slick, cynical, vapid and brain-numbing actioner “Ghosted” on Apple TV+ and find yourself regretting the decision pretty much every predictable and overblown step of the way.

In the hands of writer-director Lee Cronin, a brilliant makeup and practical effects squad and a terrific cast that really sinks its teeth (sorry) into the material, the first film in the “Evil Dead” franchise in 10 years ramps up the gore and the supernatural elements while remaining true to its creatively gruesome origins.

On the heels of his brilliant one-two punch of “Hereditary” and “Midsommar,” writer-director Aster stumbles badly in an impressively staged and photographed film that has flashes of stunning originality but for the most part careens madly between dark comedy and surrealistic horror, badly missing the mark in both genres. It’s funny here and there, but it’s never scary, and it ultimately commits the sin of becoming a well-made bore.

Beyond the often hilarious dialogue and some slapstick humor, when Somewhere in Queens gets into serious territory, including Leo possibly having a fling with an attractive widow (Jennifer Esposito), the material is handled deftly and with intelligence and care.

It’s almost as if Ritchie wants to make sure we know he directed this, because it doesn’t seem like “a Guy Ritchie film.” Duly noted, and kudos to the veteran filmmaker for delivering a skillfully made and gripping tale about the hell of modern war and the universal nature of sacrifice, commitment and heroism.

With Cage delivering the goods in a juicy supporting role, and Hoult and Awkwafina developing a nice buddy-cop type chemistry, Renfield is an uneven but entertaining enough vampire comedy that gets as many laughs from creative slicing and dicing than it does from the dialogue.

Run, don’t walk, away from any temptation you might have to see the off-putting, unfunny, clunky and cartoonishly terrible would-be mob comedy “Mafia Mamma,” which is so lacking in subtlety, cohesion and humor, it makes “Murder Mystery 2” seem like a Rian Johnson thriller.

Linoleum winds its way to an ending that will take some by storm, while others might have figured it out halfway through. Either way, it feels authentic, and earned, and it might just take your breath away.

We find it hard to get invested in the fates of any of these characters, despite the talented cast and the undeniably interesting look of the film.

With an ending clearly setting up further adventures to come, The Super Mario Bros. is a solid kickoff to a new chapter in this enduring, multi-platform franchise

Thanks to Affleck’s sure-handed, period-piece-perfect direction, a crackling good screenplay by Alex Convery and the lively, funny, warm, passionate performances from the A-list cast, Air is as entertaining and fast-paced as an NBA Finals game that is destined for overtime.

It’s bigger, louder and dumber than the original—filled with cartoon violence, only occasionally funny dialogue and a group of suspects/victims not nearly as intriguing as the bunch from the first film.

It’s like a strange and misguided takeoff on “All That Jazz” as funneled through “Rock of Ages,” and while there’s no denying the heart and effort behind the presentation, that finale is representative of the movie itself in that it has an uncanny way of hitting the wrong notes.

Co-directors Jonathan Goldstein and John Francis Daley, working from a script they penned with Michael Gilio, have struck the right balance between high-stakes action, warm drama and clever comedy in a consistently engaging, mostly family-friendly romp that features some of the most spot-on casting of any film so far this year.

This Apple TV+ original film, directed by Jon S. Baird, doesn’t attempt to replicate the entertainingly addictive block-stacking puzzle game because I don’t know how you’d make a movie out of that; it’s a fictionalized and creatively stylized origins story that plays like a Cold War thriller version of “The Social Network.”

Despite the fine performances, A Good Person starts off on the wrong foot and never finds a solid stride.

Somewhere inside the utterly unnecessary, bloated running time for John Wick IV, there’s a brilliant, stripped-down, 100-minute classic of a drive-in action film, where the admittedly breathtaking action sequences don’t grind on for so long that they actually become borderline tedious.

As we pick up Billy/Shazam’s story about four years later, it quickly becomes apparent this is just going to be a by-the-numbers, second-tier adventure with only a few small chuckles and one or two genuinely touching moments. The rest is just noise.

Yes, Letterman is a big U2 guy (he once had the band on for an entire week’s worth of shows) — but this is one odd albeit sometimes charming duck of a documentary.

Writer-director Ruskin and editor Anne McCabe do a superb job of keeping the story moving, even though much of Loretta’s work involves grinding it out by knocking on doors, researching news clippings, interviewing survivors and relatives, making calls from pay phones, etc., etc.

Now comes the loony, murky and muddled sci-fi action semi-thriller 65, with A-list star Adam Driver and the talented writers Scott Beck and Bryan Woods (who collaborated with John Krasinski on “A Quiet Place”) taking a detour through B-Movie Lane in a film that isn’t compelling enough to make for silly popcorn entertainment but isn’t terrible enough to be labeled a disaster.

We know we’ll be fed something we’ve consumed many times before, and there’s not a single development that comes as even a mild surprise, and it makes for a comforting, enjoyable and satisfying experience.

Of all the ridiculous and overblown albeit entertainingly grisly “Scream” finales, this might be the most outlandish and spectacularly brutal ending of all.

The awkwardly titled Operation Fortune: Ruse de Guerre is a mixed bag that plays like a cross between a “Mission: Impossible” movie and “Get Shorty,” and there are some moments of hilariously dark humor and a few nifty fight sequences. But the plot is so convoluted it feels as if chunks of different scripts were all fed into some kind of A.I. blender, with the result being an inconsequential serving of empty cinematic calories.

What makes Creed III a consistently engrossing watch is the gritty and violent back story, and the present-day tension between two former best friends whose lives were forever changed by a single confrontation that went sideways and who now have been reunited after nearly 20 years, with one man on top of the world and the other about two degrees from reaching the boiling point as he simmers with rage and resentment.

As the body count piles up and the action gets bigger and bigger, even the great John Luther comes perilously close to being overwhelmed by the spectacle in an increasingly ludicrous storyline that favors admittedly stunning and often gruesome visuals in favor of anything approaching plausibility.

The cast is wonderful, the laughs are frequent, and the ending is truly touching.