When Argylle is fun, it is really fun. Watching Rockwell and Howard run around the world is entertaining, for a time, but not forever. “Because these things will change,” as Swift sings in “Change.”... Maybe she should have written the movie.

The movie, like Jackie, loosens up a bit, and her relationship with Ian adds a nice bit of warmth. Hunt directs the film, and at times its tonal shifts are a bit jarring.

No one is going to mistake “Road House” for a masterpiece, but it succeeds far better at being what the original film set out to be.

Knoxville and the others go about their messy business with a glee that is impossibly contagious.

For all its issues, Ruby Gillman, Teenage Kraken is a good excuse to get out of the house with the family and take the kids to see something fun. And that’s what this movie is: fun. Even if I was bored and unmoved, the target audience will have a great time.

Odd indeed. In a good way, mostly.

Zwick can't seem to decide what the movie is - a refreshingly frank comedy about sex and commitment, or a more-serious look at illness and its effect on relationships.

Were there some oversights and cop-outs in this documentary? You bet. But they don’t get in the way of enjoying it. Child was not one to dwell on the difficult parts of life; she was far too interested in seeking out the delicious moments. In that way, the filmmakers made her proud.

Newbie director Aleksander Bach handles the project with a competent precision. The film doesn’t rise above the genre and the plot is muddled, but he pulls off the basic elements with a distinctly chilly European style.

The narrative is so diffuse that putting together the pieces is beside the point. You feel no closer to knowing or understanding the Laurents, and their collective unpleasantness gives one little reason to want to. It’s a skilled ratcheting of discomfort – but to what end?

The best of the lot. It's not great, but the mean-spiritedness that permeated the first film and stuck around a bit for the second is mostly gone.

The new Ghostbusters is a pretty funny movie, a goofy take on the goofy original that has some good laughs and a dopey story.

It’s a fun effort in a genre that hasn’t gotten much of a workout recently, and that’s worthwhile in itself.

Moviegoers who are familiar with the source material for The Green Knight might find it a thought-provoking, updated take on the ancient poem. The film does offer interesting ideas on masculinity and honor. Just don't go into it expecting action or thrills along the way.

It's a movie as warm and fuzzy as a comfortable blanket, and as safe as the milk Edwards prefers to anything stronger. Not as exciting, perhaps, but it gets the job done well enough.

The themes in One Fine Morning are familiar: love, loss, loneliness. Hansen-Løve treats them with dignity, allowing the audience to experience Sandra’s emotions fully. Even so, the film as a whole doesn’t pack the punch it could have.

Kahlil Gibran’s The Prophet is a hit-and-miss affair, easy on the eyes but nothing to write home — or a term paper — about.

Trolls World Tour isn’t a great movie, but it’s not an awful one, either — and maybe most importantly, it’s a new movie, one you can watch right now without leaving your house.

More brains and less brawn probably isn’t a prescription for box-office success for a movie like this. But it’s a movie I’d rather see.

Acting (and story) take a back seat to the visual display. Eubank shows confidence with each shot, whether it takes place in a desert vista or a clinical government slab. What's it all mean? It's unclear, except meaning that Eubank is a talent to watch.

Thanks to a good cast and a willingness to stray fairly far afield from the source material, it’s better than you might think.

The acting is good, the story of doomed lovers suitably tragic. But the film is never quite moving in the way one would hope.

It's a chocolate whimsy-filled film that gives Chalamet a chance to show off and that makes it worth sitting through at least once, maybe even twice.

Vacth is good throughout. It's tough to make a disaffected character hold your interest, but she does.

Interesting as it is, Narco Cultura aims to tell the story of what’s happened in Juarez and in Mexico (and, by virtue of its immense appetite for drugs, the U.S.). Instead, it feels more like a couple of intriguing chapters.

There are few issues more bitterly divisive than abortion, with emotions and rhetoric running at fever pitch. October Baby is a faith-based movie that resides staunchly in the pro-life camp. Yet directors Andrew and Jon Erwin, who also contributed to the story, rarely let their film get didactic, instead going for a more low-key approach.

None of the characters, save Ada, is interesting enough to sustain the creaky joints of the convention of the story mechanism.

Without any movie-specific spoilers, it’s hard not to be moved and inspired when you reach the end of the film and realize after everything Steinem and the other pioneering feminists of her day have done to advance the position of women in society, there is still much more work to do.