Soren Andersen

Inspiration, old-fashioned style, is the main course being served in Pelé: Birth of a Legend. In essence commissioned by the soccer icon, who is credited as one of the picture’s executive producers, “Pelé” is hagiography. But appealing hagiography.

The original “Deadpool” caught lightning in a bottle. The sequel sparks only intermittently.

There are a lot of moving parts here, and Pearce fits them together with admirable skill. Originality isn’t his strong suit, but “Artemis” has enough snaky twists and turns and moody energy to make it a fun ride.

The sweetness in the original is absent in the sequel. The players, including Judy and Nick, have an edge to them. Maybe that’s to be expected in that the main characters are now more settled in their parts, but there’s a sharpness in tone that makes them hard to warm up to.

Mrs. Harris Goes To Paris is all sweetness and light. So sweet it nearly dissolves one’s fillings, especially at the end. So light it practically floats off the screen. It’s a gossamer fairy tale. Pleasant. Charming. A trifle, though not without some substance.

The plot may be nothing special, but Reynolds most certainly is. He’s just so relatable, genial, nice, in an unforced sort of way that he makes the movie, which he also produced, a fun ride.

When it’s good, Ralph Breaks the Internet is very, very good. When it’s not, it’s annoying, cloying and LOUD!

The storm effects are first-rate, immersive all the way. The tale-telling ability of director Craig Gillespie is frustratingly inconsistent.

It’s an undeniably fun picture but rather too self-impressed. It’s Ritchie at his limited best.

Blade of the Immortal is a pretty good title for a samurai movie. I’ve got a better one: “10,000 Corpses.”

The Addams Family suffers from an acute case of the cutes.

The picture’s pyrotechnics are first rate, and the acting by the principals is more than serviceable.

Directors Rob Cannan and Ross Adam have made a picture that’s technically rough-edged but absorbing.

The picture has an undeniable rough stylishness...but in terms of coherence of storytelling it leaves the audience choking on all that swirling dust.

There’s gunplay aplenty here, but nothing about “The Kid” sets it apart from the many Billy the Kid movies that have preceded it.

The picture’s time shifts are smoothly handled by Kwak. But eventually confusion sets in.

For most of its length, Stillwater goes along as a meticulous examination of its central characters. And then suddenly near the end it jumps the tracks.

The chase, chase, chase pace is tiring, not least because it’s not clear who many of these people are and what agendas they’re following. Mixed-up confusion is the result.

The gunplay is primary though there are some obligatory scenes of martial arts fights.

Woodley and Claflin make an attractive pair, but they’re not particularly convincing playing people deeply, deeply in love. There’s something lacking in the conviction department there.

Smith, on the other hand, throws himself avidly into his work, communicating a, uh, biting malevolence and sick glee in his portrayal. The picture only truly comes alive when he’s masticating his scenes. Otherwise, “Morbius” is dead at its center.

Beatty directed and wrote the script, but from a man who made the weighty epic “Reds” and the corrosively funny “Bulworth,” Rules Don’t Apply feels curiously weightless and as forgettable as its title.

So it goes, with Sonic, fleet of foot and quick of tongue, racing from one dire situation to another. It’s exhausting, but the makers knew exactly how to tailor it to its game-mad audience.

You get a sense [Eli Roth]'s struggling to rein in his penchant for gory frights, and for that reason “Clock” feels like a movie at war with itself.

In the matter of searching for work in a difficult economy, Get a Job traffics in fairy tales that come complete with happily-ever-after endings.

Its take-no-prisoners pacing [takes] it up a notch from the average low-budget shoot ’em up.

Every plot twist is easily anticipated...The ending hints at the possibility of a sequel, but that’s a prospect that leaves one cold. As far as “Demeter” is concerned, enough is enough.

Freighted with symbolism and beautifully mounted, Youth is dreamlike and at the same time stultifying.