Robert Daniels

Burdened by its bluster, Extraction 2 is merely a loud, blithering mess masquerading as fulfilling escapism.

Education ends “Small Axe” on unsuspectingly grand terms. Yet the compact 63-minute coming-of-age film never loses its soft devoted touch. And McQueen, already an incredible filmmaker, shows another facet to his immense range.

The Fall Guy is at its best when it captures the frenzied energy, the multiplicity of artisans, and the devoted precision necessary to bring a scene together.

Because what Havoc lacks in characters and story, it delivers in two audacious waves of indiscriminate killing that are so bruising and relentless they make the “John Wick” movies look like “Sesame Street.”

Despite the tantalising set up, Immaculate is a dull, predictable affair, composed of far too many inconsequential jump scares in lieu of sturdy storytelling.

Barry Jenkins’ Mufasa is a strong, uncomplicated effort that should charm kids. The Moonlight directors involvement in a CGI-heavey Disney prequel caused serious film lovers to wring their hands, but the results speak for themselves: This is simply a lovely movie.

Though Willmott has the best intentions with The 24th, and the story of this infantry is ripe for the Black Lives Matter era, the narrative drama is a missed opportunity to honor these fallen heroes.

Inspired but overwrought, “Scarlet,” an anime adaptation of Shakespeare’s Hamlet, begins with stunning style before falling off a major cliff.

Despite its over orchestration, director Vanessa Roth’s slight, hagiographic documentary Mary J. Blige’s My Life, manages to provide profound truths concerning its self-admitted insecure subject.

The father-son drama in Embattled might win some rounds, but the abundance of clichés leads to a loss overall.

If Radioactive spent more significant time with Curie’s eccentricities . . . we might have arrived at a real character study. Instead, the biopic’s strained narrative bonds dissolve, awash in a series of disconnected events.

The well-placed message and the imaginative animation will win over the film’s intended audience: young children. But the moves Where is Anne Frank uses to deliver that message may do as much harm as they bring help.

There are plenty of flaws in Spaceman. Mulligan’s character is underwritten . . . The overall tone might also be too sleepy, too introspective and despondent to some’s liking. But I just love Sandler in this register.

A convoluted conclusion, begot by an unconvincing change of heart, obliterates any chance of “Hunt” offering the clarity it needs to be entertaining. Instead, Lee’s directorial effort wanders toward something unmemorable.

Old isn't M. Night Shyamalan’s best work, but it is one that shows maturity – a movie that tackles universal and intense themes over twists and puzzles.

Between the eye-catching period details and the warmth of the performances, you want to wrap your arms around “The Supremes at Earl's All-You-Can-Eat.” But this is a film that seems intent on pushing you away through its ludicrous plotting.

In Everything Everywhere All At Once, a dizzying and aching bit of popcorn entertainment, in fact, Yeoh has never been better.

Barker takes his initially enthralling documentary and dilutes the story with this new feature, creating melodramatic lightness without an affectingly heavy touch due to the tepid tone and wheezing tempo. In short, it snoozes.

Butcher’s Crossing is unfocused, distant, and flat.

This film is simply a simulation of the genre beats you expect in a story about a man kidnapping a woman in the woods. The cloying setup also leaves much to be desired, as does the anti-climatic ending

While you will get sturdy popcorn pleasures from Spiderhead, you’ll also leave wondering what more possibilities Hemsworth holds as an actor once he lays his hammer down.

A brisk film that could do with twenty more minutes, Green’s “Good Joe Bell” has its heart in the right place, but the limited gaze the writers and director offer withholds this redemptive tale from being the uplifting critique of homophobia and bullying that it needs to be.

This violent franchise has rarely felt so assured, so relaxed and knowingly funny.

Such blunt messaging reduces the onscreen carnage, which relentlessly occurs via this mute machine’s searing lasers, barrage of bombs and kaiju breath, to little more than the human toll required for this particular military man to feel again. Worse yet, the film concludes with hawkish intensity, fashioning itself into a tasteless recruitment video.

Hancock, in what might be his best film, grazes with greatness by constructing an enthralling thriller that relies on the talent of its three leading men to mine regret for mystery. But the mawkish little habits, the slow start, and the timid finale just barely get Hancock caught. It’s the little things that tear The Little Things apart.

It’s a fascinating premise by screenwriter Gregory Poirier, one that is methodically and quietly built, but ultimately loses any grit, atmosphere, suspense, or emotion it could possibly carry because of a few narrative headscratchers. Even Keaton, usually a sure bet, doesn’t land what the movie is selling.

While Powell’s film is highly bloody and invested with psychological realism, it lacks a pulse and curiosity that doesn’t befit the excitement promised in the title.

This is a film that leans into its cliches — long, loving nights transform into windswept mornings, ardent dialogue teases obsession — and smartly uses them to enact triggering lessons about generational trauma.