Air isn’t a documentary, it's better — a brilliantly acted, fascinating true story.

What makes this film work is that it is exactly as advertised: a chaotic romp through a fantasy world that has enough structure to be believable. But the key here is that we don’t get bogged down in details over which race or land is which. We don’t care nor need to know all the details of this world. We just go along for the ride.

It makes for an entertaining movie, one you can tell is glossing over some details and minutiae. That's probably a good thing overall, but that, and an inability to nail down a consistent tone, leaves it feeling a little incomplete.

John Wick: Chapter 4 is not a great piece of cinema, exactly, but it delivers on what it promises, time and again.

Moving On, a dark comedy written and directed by Paul Weitz, isn’t a great movie by any means, but it’s a pretty good one. It’s also a relief to see Fonda and Tomlin play women whose age is not discounted, but is also not disqualifying.

Without an actor like Dafoe at its center (and margins and everywhere else), it would be unwatchable torture. With him, it’s more like watchable torture, easier to admire than enjoy.

Scream VI is a decent film with a transitional feel, a signal that you can take the show on the road and it still works. But it doesn’t leave you screaming for more.

It's all very relatable. The film allows audiences to see that we are all human beings trying to make sense of the world and live our lives.

Creed III is definitely a people movie. And Jordan has trained his lens on the right subjects. He’s once again convincing as a man trying to fight his way through internal conflict, not just opponents in the ring.

Director Jamie Payne keeps things moving, certainly, and the action is appropriately gruesome. But you can see where a little more time to tell the story would have helped.

It’s stupid by design, but it’s not stupid enough. … It plays like an idea in search of a film. Desperately in search of, and never quite finding it.

In Return to Seoul, 25-year-old Parisian Frédérique Benoît (Park Ji-Min), aka Freddie, copes with learning about her Korean heritage during a spontaneous trip to South Korea. And the journey to finding herself and accepting her background is anything but linear.

The storytelling in Linoleum isn’t simple, but the joys of its discoveries are. It’ll make you think, and ultimately it will make you smile.

To be fair, both Anton and Green do a fair job of giving Kol and Adam believability. But do we really need another tragic period gay love story? How about yes, but do it better.

You’d think a move about the potential for the destruction of universes would feel pretty high stakes, but this one doesn’t. Nor does it connect on the family drawn together through adversity front.

Billed as a musical comedy, Magic Mike’s Last Dance should be a lighthearted Valentine’s Day/Super Bowl weekend watch. Unfortunately, it’s not funny in the ways it expects to be.

To pretend that the film’s pleasures are more than modest is just that — pretending.

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.

The film is a mad whirl of influencer phoniness, paranoia, imposter syndrome and parenting nightmares.

There are a few examples that illustrate what makes “Turn Every Page — The Adventures of Robert Caro and Robert Gottlieb” such an exciting documentary. Yes, seriously, exciting.

It’s not just that the jokes aren’t funny, or that they’re given to genius comic actors like Eddie Murphy and Julia Louis-Dreyfus to deliver — which has to be some kind of pop-culture crime — the bigger issue is that there's not a single instance of recognizable human behavior in the entire film.

It’s too bad that these maternal figures aren’t given much more to do except worry about their progeny in “The Son.”

I was only able to figure out the answer to about a third of the mysteries. But the rest left a thrilling impression that made “Missing” a genuinely fun ride.

There’s a lot going on here, not much of it all that interesting. Although you do get to see Rob Lowe clomp around in the woods. And that's something.

If Sick isn’t a great COVID-inspired horror film, at least it’s a start.

If you’re a student of history or a Wikipedia devotee, some aspects of the film, particularly its conclusion, might bother you. But they shouldn’t. Watch a documentary if you want straight facts. Watch what Kreutzer and Krieps have come up with here for something more.

Despite the specificity of the setting and the performances, there is a universality to the story.

Most of all I enjoyed watching Bale and Melling together. Poe wants to impress Landor, who after all is a famous detective, but he just can’t help himself.