Zaki Hasan

There’s a difference between extending a story and deepening it. While this latest entry is thoughtful and stirring, it doesn’t exactly improve upon the elegant finality the series granted Tommy Shelby four years ago. Sometimes the most powerful ending is the one that understands when enough has been said.

The SpongeBob Movie: Search for SquarePants may not be the series’ most inspired cinematic outing, but it’s a likable one, buoyed by strong performances, a few inspired casting choices and just enough heart beneath the nautical nonsense. Sometimes, that’s more than enough to keep things afloat.

Continuing to explore themes of looking past stereotypes to find our shared, ahem, humanity, Zootopia 2 ventures into new territory without losing its emotional footing. It shows us how trust and cooperation often hinge on small, brave choices made over and over again.

Stylish, playful and buoyed by the chemistry of its returning ensemble, “Now You See Me: Now You Don’t” sharpens the franchise’s act with a surer hand to present a dazzling heist film that doesn’t treat its audience like a mark, but rewards them for paying attention.

Two decades after its predecessor, Disney’s “Freakier Friday” plunges back into “legacy sequel” waters — where nostalgia keeps storylines afloat and originality barely treads water.

Once the fleeting novelty wears off, what remains is a movie caught in tonal limbo. It’s too convoluted for kids, too slight for adults and too self-aware to be taken seriously.

At its core, Star Trek: Section 31 suffers from a kind of existential emptiness. It appropriates some of the surface-level iconography of “Trek” but fails to uphold its spirit. It nods to continuity, but the dense lore feels like a gatekeeping exercise and the breezy tone undermines the gravitas of its own premise.

Den of Thieves 2: Pantera is neither better nor worse than the sleeper-hit crime caper that preceded it. Like the original, it’s too long and threatens to become overwhelmed by its own web of underworld intricacies. Nonetheless, with appealing chemistry between stars Gerard Butler and O'Shea Jackson Jr., and a suitably tense third-act heist sequence, it rewards the goodwill the original has built up since its 2018 release.

Part of what made the prior two “Sonic the Hedgehog” movies work was their playful, controlled scope that still provided engaging, serious storylines. By contrast, the third and latest installation overwhelms with so many explosions and colorful sky beams that instead of pulling the audience in, it has the opposite effect.

Tolkien’s fantasy world is always worth revisiting, and that makes “The War of the Rohirrim” worthy of watching even if it ultimately doesn’t amount to much once you look past the obvious visual panache.

The finest adaptation of one of the most important comic book stories ever told gets the ending it deserves.

With impressive animation and a faithful script, Watchmen Chapter 1 is clearly a labor of love. But while it avoids some of the pitfalls of prior adaptations, it also reveals a few of its own.

Despicable Me 4 is co-written by Mike White (“Migration”) and has a bit more wit and heart — not to mention a few more laughs — than the recent entries in the “Despicable” series.

At just under two hours, "Ultraman: Rising" is a bit longer than it needs to be, but buoyed by a strong voice cast and a unique point of view that blends elements of superhero action with heartfelt family drama, it's an effective reinvention of a franchise that's had more than its share of reboots over the last 58 years.

The Garfield Movie is a reheated tray of stale lasagna.

The character moments here resonate, and there are enough stakes to make the final scenes feel meaningful.

Fremont is content to let small moments stay small, threading them together for a compelling tapestry of shared humanity.

Based on the litany of deep cuts and the intrinsic understanding of the concept in “Mutant Mayhem,” it’s clear Rogen and Goldberg bring a particular love for the franchise to the screen.

By the time we get to a kaiju-inspired third-act throwdown involving multiple giant sea monsters and a mystical trident, this story feels like it’s gotten too big for its small frame.

This is a horror movie the way the original “Ghostbusters” is a horror movie –– that is to say, not really — and like that film, there’s a “hanging out with friends” energy that gives The Blackening its charm.

Guardians of the Galaxy Vol. 3 is overstuffed and a tad too long. But it’s also a humorous, heartfelt farewell by Gunn to his band of misfits. While the film takes pain to emphasize that the Guardians will go on, whatever comes next will certainly be different without him.

Lowery doesn’t stray too far outside the lines — this is still a Disney movie based on a beloved family property — but he also doesn’t shy away from mining a familiar tale for meta commentary. Far from deconstruction, it’s heartfelt and introspective.

It exists within a franchise but doesn’t add anything to it, ultimately feeling as hollow as the reanimated corpses it centers on.

Occasionally amusing but rarely engaging, it leaves one feeling like they’re standing to the side and watching someone else play a video game.

There’s a lot in Scream VI to satisfy longtime fans, but it still feels like a step down from the last one.

Despite game performances by a slew of returning cast members, it doesn’t justify its existence as anything other than a mercenary attempt by Paramount+ to cash in on audience nostalgia for familiar faces.

It’s a perfect package of whimsy, sass and sweetness.

Devotion earnestly tells that story in a stolid, straightforward manner, flying admirably high while knowing when to remain grounded.