Sara Stewart

It is admirably unsparing and gloomily atmospheric. And I looked at my watch a bunch of times.

If you have two X chromosomes, or know and like someone who does, Blade Runner 2049 may not be the movie for you.

Mines the increasingly fertile territory of aging boomer parents and chafing middle-aged siblings, but at irritatingly high volume, with the cantankerous voices of Adam Sandler, Ben Stiller and Dustin Hoffman nearly constantly talking over one another.

Despite all its problems, The Last Days on Mars serves up a deliciously shivery hypothetical: Wouldn’t we all secretly love it if the Mars rover sent back footage of a “walker” or two?

Like the rest of Dear Mr. Watterson, it’s a good-hearted gesture. But unlike Calvin’s alter ego Spaceman Spiff, this film never manages to achieve liftoff.

Hugh Jackman, as a (fictional) former American jumper named Bronson Peary, enlivens things a little.

Writer/director Andrew Levitas needlessly pads this captivating theme with over-used tropes.

A well worn trope that’s tough to elevate beyond eye-roll level.

The idea of combining creature-feature invisibility with domestic-abuse gaslighting — playing with someone’s reality to make them think they’re going insane — is inspired. This middling horror film, regrettably, is not.

The many silences in Hide Your Smiling Faces don’t speak quite loudly enough, and the film ultimately gets bogged down by its own ponderousness.

This Disney sequel to 2013’s “Planes” is a lot like flying coach: serviceable, but not trying that hard.

Despite James Wan’s capable direction and very game cast, the whole thing goes increasingly wobbly like a bad axle, until it’s just a tangle of metal and bullets and yelling.

Just in time for Mexico’s Day of the Dead holiday comes this gloriously colorful animated musical, which almost (but not quite) makes up in visuals what it lacks in snappy dialogue.

This Cinderella is all dressed up with nowhere very interesting to go.

Perhaps faithful to the spirit of the man, but frustrating if you’re actually curious about the facts.

The Report, true to its no-nonsense name, does the admirable work of trying to interest viewers in the way that bureaucracy can be used to hide the most terrible truths. Alas, the movie gets as buried in paper-pushing as its characters do.

Unfortunately, the cast of characters you’ll find here is a pale imitation of her Hogwarts heroes.

Good-looking but tonally dubious feature debut from Elizabeth Wood.

As apocalypse scenarios go, this one feels both retro and commendably topical: Nuclear bombs, remember those? (Also: Edward Furlong, remember him?)

The third and weakest book in Suzanne Collins’ trilogy should never have been split into two films, but since that’s become money-grubbing standard practice for young-adult adaptations (“Twilight,” “Divergent”), here we are.

Antarctic Edge will make good viewing for science classes of all levels, and ideally inspire a new generation to continue this hardy mission.

Despite Mulligan bringing her A-game, the film falls short of its potential.

Wiig and Adebimpe give appealing, naturalistic performances — it’s Silva’s character who grate.

Squanders its big ideas in record time.

As much fun as it is, this all-star tribute is awfully one-note, never questioning Gordon’s seemingly casual habit of befriending only the ultra-famous.

Kelly & Cal is at its best when focused on Lewis and Weston.

Without a humanizing element like Blunt’s character, this whole grim affair is just a race to the bottom in which everyone loses.

Men are pigs! Women are psychos! One-percenters have it coming! Pick your moral in this nasty, single-setting thriller that’s ultimately quite tame by the standards of torture-porn director Eli Roth (“The Green Inferno”).