This film’s comic antics are relentless, exhausting, and devastatingly unfunny. Waititi’s script (co-written with Iain Morris) can’t go 30 seconds without attempting a laugh — and failing most of the time.

I don’t think the third act of Dream Scenario works at all. It’s too obvious. However, its saving grace is Cage, whose petulance in these late sequences never ceases to be as funny as it is uncomfortable to watch.

Though Trolls Band Together mercilessly beats its familiar, tired message about the importance of family into the ground, it’s still surprisingly watchable with plenty of voice and singing talent.

Even if you’ve only seen one of these films, you won’t need to spend 156 minutes witnessing the rise of a madman whose actions never required any backstory in the first place.

DaCosta, who helmed the much-maligned 2021 reboot of “Candyman,” keeps the plot moving so quickly that I had little time to question much of it.

Despite the fine acting, Rustin is still a standard-issue biopic that traffics in the expected tropes. It’s the film’s perspective that elevates it, as no major movie has witnessed this era through the eyes of a gay man. I did find myself wishing it were a bit grittier; there’s a level of optimism flowing through the film that threatens to dilute some of its darker elements.

Priscilla gives us little idea of the inner workings of Priscilla Presley. She’s an enigma in what is supposed to be a story of her empowerment.

The Holdovers feels like a movie Ashby might have made.

The Pigeon Tunnel is mannered, but one could argue that’s fitting. It’s hard to get more mannered than the le Carré prose style and plotting. Yet no character inhabiting the novels, not even George Smiley, is as riveting and memorable as David Cornwell. Anything that gets between him and the viewer is not a good thing.

Once the case comes to trial, Anatomy of a Fall becomes an engrossing courtroom drama, but not for the reason you think. The French court is a vessel for grandstanding and verbal sparring matches; it’s far less stodgy than the American ones we see in even the most absurd courtroom movies.

Killers of the Flower Moon is flawed, but still worth seeing. The film’s final scene, which will surely be divisive, is perhaps the best coda Scorsese’s ever shot and features his most intriguing cameo appearance. It’s a gutsy way to tie up all the film’s loose ends — proof that even this far in his career, he still has a few new tricks up his sleeve.

Dicks: The Musical is a three-star movie with a midnight crowd and a two-star movie when viewed at 3 p.m. My star rating splits the difference.

Though it plays fast and loose with several details, The Burial remains true to its focus on race, class, and how capitalism exploits both regardless of a person’s color or financial means. The message is not subtly delivered, but it’s still effective.

By centering Fair Play on a working woman who (at least at first) bends over backward to soothe the anxieties of the men surrounding her, Domont nods to the erotic thrillers of yore and then speeds past them, creating something sexy and exciting, but also gleefully modern.

Far too much of this movie is a replay of scenes and plot elements that Friedkin’s film did better, and without CGI. The anticipated head-spinning and pea-soup vomit were far more effective with practical effects.

The perfect movie to curl up with on a rainy day, Flora and Son tells us that music is the tie that binds people together, whether they’re ex-lovers, potential partners, or a scared mother reaching out to her equally skittish son hoping he will reach back.

PAW Patrol: The Mighty Movie is not a good movie, but it should appeal to its intended audience. I admit I was bored, but to my surprise, I didn’t find it that much of a chore to sit through.

Gillespie and his editor Kirk Baxter cycle through scenes of these one-dimensional characters, headache-inducing montages of cable news footage, YouTube re-creations, and TikTok videos. The pacing is frenetic, but the content is mind-numbingly dull.

Williams keeps the pace quick and tight, the wrestling scenes are fun, and the costumes are delightful. With its message of acceptance, “Cassandro” is preaching to the choir, but it’s a good sermon nonetheless.

Most coming-of-age tales chart a course from childhood to maturity. Scrapper flips the premise, allowing a kid who grew up too fast the luxury of slowing down to savor childhood.

Why Branagh and the screenwriter, Michael Green (he also did the two earlier Poirot adaptations), would want to bring actual, real-life horror into a mystery movie masquerading as a horror movie is a mystery beyond the powers of even Poirot to solve.

Bottoms has a devil-may-care approach to its satire that might have made Jonathan Swift proud. Director Emma Seligman, who co-wrote the script with this film’s star, Rachel Sennott, are unconcerned about offending audiences. If you’ve seen their last film, the 2021 cringe comedy, “Shiva Baby,” you know what you’re in for here.

The end result is an inert bore. Golda fails as a character study and as an exploration of wartime mechanics. It succeeds only as Oscar bait.

The film’s visual look is as inert as its screenplay, and its attempts to make the real racing scenes look like Gran Turismo gameplay by overlaying the game’s graphics with live footage fall embarrassingly flat.

Blue Beetle is a watchable time-waster made better by the actors and the cinematography by Pawel Pogorzelski.

Strays is a live-action flick about talking canines. As a movie, it is not a good boy; it is a bad dog. But if I were currently 12, I might have reacted in a more positive way.

If you can admire a movie’s technique (and its hotness) above all else, you’ll enjoy Passages. For me, it’s an intriguing near-miss.

Red, White & Royal Blue is sweet and funny, and it doesn’t scrimp on the sex scenes. Horny and corny is a good combination for a rom-com, if you ask me.

This is good, fun summer fare, shot in ominous shades of darkness by cinematographers Roman Osin and Tom Stern and fueled by an effective score by Bear McCreary that isn’t obtrusive. Ovredal knows how to stage atmospheric horror sequences, and the Norwegian even gives us a variation on a Viking funeral that serves as the film’s biggest emotional moment.

Inside the sci-fi dramedy Jules lurks a message about senior citizens being ignored and deprived of their independence simply because of their age. Unfortunately, the script by Gavin Steckler takes a most confounding route to get to it — one involving an alien, town hall meetings, and FBI agents who want to keep the extraterrestrial here under wraps.

Though it delves into some dark territory, Shortcomings has a light touch and is at times very funny. The hilarious Cola is easily the film’s MVP, but Mizuno and Maki are also quite good. The film’s self-awareness and humor about its protagonist are its greatest assets.

The “Cowabunga” dudes have become “Cowa-boring.”

I went into Haunted Mansion expecting a hot mess on par with Murphy’s movie. Instead, I found an engaging and sweet action comedy, one that’s not only very funny but also quite touching. Much of the credit goes to the cast, specifically the lead performance by LaKeith Stanfield as Ben Matthias.

This musical should have taken center stage in Theater Camp. The dreadful story surrounding it deserves to get the hook.

What I can say for sure is that Oppenheimer far too often feels like a three-hour Wikipedia entry than a compelling movie.

Barbie knows it can be construed as a giant Mattel commercial. Look at how it highlights Barbie’s outfits by having them stop in midair for product identification, or how even the discontinued Barbies have houses in Barbie Land. That self-awareness is part of the charm, along with the clever way the plot unfolds and the genuine love Gerwig has for her characters.

I wish the filmmakers had shown as much faith in the audience as its characters have in miracles.

Finally, a summer action movie that delivers the goods!

Ultimately, Joy Ride is an uneasy melding of “Girls Trip” and “Return to Seoul”; it’s two pieces that work well by themselves but clash when forced to collaborate.

Julie Cohen’s Every Body is a master class in how a documentary should be done. It packs a lot of information into a briskly paced runtime of 91 minutes, and its use of clips and talking heads doesn’t distract or feel extraneous. The

A lot of people die, much danger is averted, and we’re once again treated to a grand spectacle at the film’s climax. It’s all wrapped up in a package that’s too neat to leave an impression.

It’s an empathetic yet forceful cautionary tale; we should pay heed to its message.

Ultimately, No Hard Feelings is the story of two people who are afraid of life for different reasons, and how they help each other lose that fear. I’ve heard complaints that it sacrifices filth for feelings. To those folks, I say — you can always watch “Porky’s” instead.

If you asked an AI program to create a Wes Anderson movie, you’d get Asteroid City, the latest — and worst — film from the writer-director of “The French Dispatch” (2021) and “Isle of Dogs” (2018).

As per sequel rules, everything has to be bigger. But bigger doesn’t always equal better, as Extraction 2 proves.

The action gets increasingly overblown, even by superhero-movie standards. Bad as smash-crash-bash can be, portentous smash-crash-bash is far worse.

With its preachy, dull love story between a boy made of water and a girl on fire, Elemental should have been called “Guess Who’s Coming to Disney.”

The marriage between its uplifting personal message and its embrace of big business is a rocky one, but Longoria and company hold the union together.

The result is a formulaic, underwhelming set-up for another era of Transformers movies.

Song masterfully simplifies things on an emotional level, allowing us to switch back and forth between feelings or simply to meditate on the outcome we wish for, and to understand why it’s OK if we don’t get it.

The Boogeyman becomes an exercise in diminishing returns, though it is not without its pleasures.

The more I consider it, the more I realize the best elements of this film make it worth seeing, if only marginally so. There is enough to, dare I say, marvel at while you are beaten senseless with plot.

The look of the film is so spectacular that I almost want to recommend you see it solely for that reason. It wasn’t enough to save the film for me.

The summer season rarely has room for a nice, adult comedy like You Hurt My Feelings. It is counter-programming of the finest order and one of the year’s best films.

I admire Maniscalco’s decision to make his character the butt of the jokes, literally and figuratively. If only the jokes were funny. He has zero romantic chemistry with Bibb, who appears to be acting in another movie entirely, but he and De Niro make a credible father and son.

As for The Little Mermaid, it’s one of Disney’s better remakes. But don’t throw away your DVD of the original.

Master Gardener is the third film in writer-director Paul Schrader’s redemption trilogy. The series includes 2017′s “First Reformed,” which is good, and 2021′s “The Card Counter,” which is not. Unfortunately, the trilogy ends with its worst entry, an excruciatingly slow white-savior narrative that aims to provoke yet does nothing but bore.

Fast X is watchable, and its car chases are often exciting, but it’s not as satisfying as the best F&F movies (“Fast and Furious 6,” “Furious 7,″ and the extremely ridiculous “F9″). Part of the problem is Dante.

To her great credit (and one must also mention the production design by Mollie Wartell, and the low-key but on occasion lush cinematography by Brian Lannin), Parmet here creates an environment that feels lived-in, and portrays it without condescension. And Scanlen’s detailed work keeps the movie emotionally credible.

Imagine my surprise when I discovered that Book Club: The Next Chapter was not only watchable but occasionally amusing.

What stands out in Still: A Michael J. Fox Movie is the candor and determination of its subject. Moments with his four adult children and wife are beautifully captured, and Fox pulls no punches in his responses to Guggenheim’s occasionally tough questions. The result is a worthwhile, inspirational, and very watchable documentary.

Admittedly, Carmen is an acquired taste. But if you’re in the mood for something that will stun your senses, I highly recommended it.

Unlike the first two installments, Guardians of the Galaxy Vol. 3 ultimately feels tethered to the MCU in ways that mute the uniqueness of the series. Unlike its predecessors, its familiar beats feel like a bridge back to the MCU rather than a divergence off the beaten path.

Fremon Craig has made a completely satisfying crowd pleaser full of first-rate performances.

Polite Society is a tale of smashing the patriarchy through martial arts and a bit of science fiction, featuring gorgeously shot scenes of action, comedy, and outright terror.

Rom-com turning into bomb-com (there are lots of explosions) is a funny idea. But since neither the rom-com nor the bomb-com is much to speak of, Ghosted isn’t either.

Though it occasionally pulls its punches, the blows Chevalier does land sting and leave a mark.

This is a movie with weapons-grade mommy issues.

By the end of this extremely entertaining and informative documentary, the one thing you will come away with is that Little Richard always presented himself the way he wanted us to see him. And, yes, he was indeed as influential as he always said he was.

While Mafia Mamma fails as a comedy, it succeeds in delivering the graphically violent moments one expects from a movie about the Mafia.

Paint is so haphazardly thrown together it’s painful to watch.

The best I can say for The Super Mario Bros. Movie is that it’s infinitely better than its predecessor. But you don’t need a power-up to clear that bar.

As a star-studded (and highly fictionalized) history lesson, Air is massively entertaining and one of the best films of 2023 so far. It also works as a nostalgia piece for people like me who, in their youth, lusted after the pricey footwear.

A more fleshed-out character might have grounded a last act burdened by an unconvincing plot twist, an odd moment of wish-fulfillment, and an over-reliance on the clichés that befall Black people in urban-set films.

The screenplay, by directors Jonathan Goldstein and John Francis Daley and co-writer Michael Gilio, tries to evoke the feeling that “D&D: HAT” is being written on the fly as the movie unfolds. While their attempt is valiant, it takes away from the task of creating a world that we’ll want to revisit or see again (you know there will be sequels).

If nothing else, Braff gets good to great performances out of his cast. The standouts are Pugh and Freeman: She’s a violent slash of petulance, while he remains a master of barely concealed wrath. Both actors are willing to plumb the depths of desperation, but their hard work is wasted in a film unworthy of their talents. A Good Person is a mediocre movie.

Each installment saw an increase in runtime, and “Chapter 4″ clocks in at a massive 169 minutes. Not one second of it is wasted; this is wall-to-wall carnage of the finest, most entertaining order.

It’s a worthwhile alternative to the comic-book movie opening this week, provided you’re open to a dark comedy that teeters precariously on the edge of the abyss.

When Boston Strangler focuses on the two journalists who wrote about this case, it is quite involving.

Champions wants to be a clone of the 1976 sports movie classic “The Bad News Bears,” right down to giving us a Tatum O’Neal-style toughie, Cosentino (Madison Tevlin). While Tevlin is very funny and convincing, Harrelson fails to plumb the depths of unlikability in his character that Walter Matthau brought to Coach Buttermaker.

The scariest thing about Scream VI isn’t seeing someone get knifed in the face 600 times; it’s this movie’s absurdly inaccurate depiction of New York City.

Throughout the eight years covered by writer-director Davy Chou’s latest, Return to Seoul, Freddie will alienate the people around her and, by extension, the viewer.

Told from the perspective of its 9-year old protagonist, Cáit (Catherine Clinch), writer-director Colm Bairéad’s adaptation of Claire Keegan’s 2010 novella, “Foster” is as beautiful as it is devastating.

The backstory between Donny and Dame is too heavy and complex for a movie that aims to be a crowd-pleaser, but Majors and Jordan do their best to balance the material.

At an outrageously over-long 127 minutes, writer-director Christopher Landon’s adaptation of Geoff Manaugh’s novel “Ernest” feels like a different movie every 15 minutes.

This is an unapologetic audience-pleaser, though it’s not for the squeamish. Say no to drugs. Say yes to “Cocaine Bear.”

From the opening credits to its last shot barely 90 minutes later, the film never eases up on its intensity. Fans of relentless rollercoaster rides like 2019′s “Uncut Gems” and 1998′s “Run Lola Run” will find much to enjoy here.

Of an Age successfully captures the fear that the object of one’s queer affection may be straight and unwilling to reciprocate.

The Quantum Realm is definitely where the action is. Too much of it.

Panahi deftly juggles his stories, merging them together in the devastating final minutes of No Bears.

Despite the return of director Steven Soderbergh (who also serves, as usual, as editor and cinematographer), writer Reid Carolin, and star Channing Tatum, this installment pales in comparison to its superior predecessors. Dare I say, it lacks — magic?

Knock at the Cabin unfolds like a good beach novel, one you can’t put down.

Not even John Toll, who won two Oscars for cinematography, can make this movie look good. Stay home and watch the real Super Bowl instead.

Director Kenya Barris, who also co-wrote the script with Jonah Hill, intended to make an edgy, race-based cringe comedy; the result is afraid of its own shadow. This Netflix release commits an even bigger sin by wasting the considerable comedic talents of former “Saturday Night Live” castmates Eddie Murphy and Julia Louis-Dreyfus.

Director Jason Moore and writer Mark Hammer have fashioned an action movie/romantic comedy hybrid that’s too violent for comedy fans and not thrilling enough for thrill seekers. It’s not romantic at all, despite the best efforts of Jennifer Lopez and Josh Duhamel.

The Son is so concerned with trying to get an emotional rise out of the audience, to choke us with its pathos, that it fails to create believable three-dimensional characters.

Turn Every Page — The Adventures of Robert Caro and Robert Gottlieb is commendable for not only being entertaining but for also shining a light on a crucial process we don’t hear much about outside of certain professions.

Living acknowledges the bitter irony of impending death bringing a man back to life. Nighy makes it look effortless; he gives an Oscar-worthy performance that made me cry almost as much as Takashi Shimura did in Kurosawa’s classic.