Soren Andersen

There is grace in Sarandon’s performance. And heartbreaking power.

After having been made and remade for the screen and converted into a long-running hit Broadway show, it might have seemed like “The Lion King” was a played-out property. “Mufasa,” under Jenkins’ poised and creative direction, proves there is still plenty of life left in the long-reining “King.”

Kids will love all the silliness, but oddly the greatest resonance of the Wayback Machine plot will be felt by the kids’ grandparents (if any find themselves in attendance) who were around in those bygone days.

[Neeson's] impressive physicality, (a tower among men), his rumbly basso-profundo voice and his impressive demeanor give him a natural gravity that allows him to rise above the most absurd material. And he does exactly that in The Commuter.

Combining rowdy concert footage and revealing offstage interactions of the band members, Mad Tiger is a well-executed portrait of a band coming apart at the seams.

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.

It’s all big action. Big colorful visuals. Outsized vocal performances.

What the picture lacks is a certain spark. It’s a workmanlike effort that diligently covers a lot of bases...but never achieves a transcendence that befits a figure like Owens.

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

It seems director James Wan had one overarching goal in making “Aquaman.” His prime directive? Crush the audience into submission.

The picture is a hugely entertaining crowd-pleaser studded with laugh-out-loud moments from beginning to end.

The gore quotient is high in this one (lots and lots of exploding heads) and the one-liners flow freely. Bloody good fun, but not for the whole family. That R rating is well-earned.

Coerced jollity is the order of the day in the kingdom of trolldom in this animated kids movie from DreamWorks. And I do mean order.

There is fun to be had here. Adults can appreciate the verbal byplay. For the kids, there’s frenzied noise, and those toys.

The new version amplifies and deepens all that is good in the original. The key is in the visuals. Photorealistic computer-generated imagery renders its African landscapes and animals with astonishing realism.

In space, everyone can hear you yawn.

Elba, always a powerful presence in whatever role he takes on, does the best he can in Beast, but the threadbare nature of the plotting and dialogue ultimately defeats him.

The fourth time is truly the charm in this long-running franchise.

Betrayals, narrow escapes and much battle action ensue in the course of the picture’s paint-by-numbers plotting.

The acting in all roles is first rate, but in this one De Niro regains the title of undisputed champion.

Thanks to the excellence of its two key performances, “Stockholm” an uncommonly effective thriller, one with a heart and a brain.

It’s a remarkable true tale of great heroism. It’s also an account of a clash of cultures.

On the whole, “Spies” is a very nice trifle turning up just in time for the holidays for families seeking a kinder, gentler alternative to “Star Wars.”

As a creature feature, Cocaine Bear isn’t bad. Not great, mind you. But not bad.

Fuqua’s remake is a worthy successor to the ’60s “Seven.”

Arnie, oddly, supplies a significant amount of humor here. His Terminator has developed a kinder, gentler side over the years, asserting “I’m a very good listener and I’m extremely funny.” Well, maybe not “extremely,” but yeah, he actually is.

Limited by his budget, Woo makes the most of what he has, but the whole thing feels like he’s cautiously dipping his toe back in the Hollywood pool.

The Rise of Skywalker rates right up there with the 1977 original, “A New Hope,” and 1980’s “The Empire Strikes Back.”