Soren Andersen

The Souvenir reveals itself slowly, calmly, with great deliberation.

Egerton is commanding throughout. His performance is truly a marvel. Rocketman as well.

Curiously though, director Michael Dougherty and his filmmaking team obscure the battle footage in darkness, smoke and downpours, making murky much of the imagery.

It’s got a flying carpet. It’s got an enchanted lamp. It’s got a shape-shifting genie. But alas, Aladdin lacks real magic.

It’s all pretty silly, but the way “Parabellum” keeps topping itself and then topping the toppings makes the picture eminently watchable. It’s a guilty summertime-movie pleasure for sure.

Overlong set-piece action scenes pitched in the key of chaos, full of running and screaming and a whole lot of falling down, ultimately turn “Pikachu” into a wearying slog.

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

The true power of “Penguins” lies in the breathtaking visuals of Antarctic scenery and overhead shots of penguins, thousands upon thousands of them, moving across ice fields, black dots on bright white background stretching to the distant horizon. When it steps back from the schmaltz, “Penguins” becomes an impressive piece of work.

“Link” is fun as far as it goes, but from Laika we expect something with a little more depth.

The picture’s real weakness is that the reanimated dead display a great deal more vitality than the characters in their pre-killed state.

In the midst of that hostile physical and psychic landscape, de Clermont-Tonnerre has made a stringent tale of a struggle for redemption.

It’s a horrifying tale, and Maras, a Greek-Australian filmmaker, does not shy away from showing the carnage.

Burton’s command of this material and his masterful visual sense makes this Dumbo an engaging delight. Like that winsome elephant, it really does soar.

Along the way, Hummingbird offers cogent commentary on the way unbridled avarice drives the search for even the smallest advantage in the cutthroat world of high finance.

It’s colorful. It’s predictable. And also quickly forgettable. Genuine wonderment is in short supply in Wonder Park.

The Wedding Guest is a thriller without thrills.

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

When greed runs up against conscience, you’ve got a story. It does in Triple Frontier, and the story of that collision is a violent and thought-provoking one.

This is history brought to life, something absolutely unprecedented in the annals of humankind.

Frequent, fiery battle scenes are well mounted, and in between are tenderer moments.

Capernaum is a searing, unforgettable work.

M. Night Shyamalan has crafted a very effective creepshow with Glass.

The picture’s ultimate destination is marked with an obviousness so bright it can be seen from space.

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

For his live-action debut, Knight slips into Bay boomboom mode.

Röhrig’s performance is an extraordinary feat of minimalism. His expressions convey a deadened spirit. Yet behind his eyes and at the corners of his mouth are signs of a spirit that won’t be crushed.

Mortal Engines hasn’t much in the way of originality, other than its rolling city, to distinguish it from other, better post-apocalyptic tales.

Into the Spider-Verse is pure fun, nonstop from start to finish.