The dynamic between Dern and O’Connell is powerful and palpable, even though their bond develops solely through written correspondence and prison conversations in which they’re talking on the telephone and separated by thick glass.

It’s a hard-R live action cartoon, and it is superb, wall-to-wall action entertainment, and I’m already looking forward to “John Wick: Chapter Four: This Time He Adopts a Cat.”

If you want to see a solid movie about Bundy as mostly experienced through the viewpoint of the single mother who fell in love with him without knowing he was a murderer, check out the Netflix feature film Extremely Wicked, Shockingly Vile and Evil.

The result is a well-acted, competently made, utterly tedious bore of a film lacking in creative spark, unwilling to take chances and determined to grind Tolkien through the muck and the blood of war and death at the expense of providing much insight into his creative process.

This is a noble effort, but ultimately Mary Magdalene isn’t much less of a mystery than she was at the start of the journey.

The Intruder is next-level dopey. Every single character in this film, including the villain, is irritatingly, maddeningly dumb. Nearly every scene is practically an invitation for the audience to talk back to the screen and ask these people if they’ve lost their minds.

There’s a certain vulnerability and intelligence, and a respectful and self-deprecating aspect to Rogen’s on-screen persona that makes these male-fantasy romances seem at least semi-plausible.

Director Lears and co-writer/editor Robin Blotnick had the benefit of knowing the outcomes when they put together the film, so it’s easy to understand why Ocasio-Cortez is the primary focus. But they do an excellent job of weaving in the stories of the three equally impressive candidates.

I’m not prepared to instantly label Avengers: Endgame as the best of the 23 Marvel Universe movies to date, but it’s a serious contender for the crown and it’s the undisputed champion when it comes to emotional punch.

Stretched over 135 minutes and overloaded with shout-to-the-rafters confrontations, Her Smell has too much talking and squawking, and not enough rocking and rolling.

Minghella does a fine job of capturing the essence of the 21st century talent competition show and all its corny, addictive allure.

Working with an economical running time of 100 minutes and a relatively modest budget, Hart infuses Fast Color with genuinely moving drama, an engrossing, supernatural-sci-fi mystery and some pretty darn impressive special effects.

Cruz is a deadpan treasure, never cracking the hint of a smile even as he delivers some well-timed one-liners. Wish we could have had an entire movie about this guy. Instead, we were cursed with the annoying and shrieking but not even close to terrifying La Llorona.

This is one of those wonderfully convoluted guilty-pleasure actioners with so many WTF moments.

The new Hellboy lands with a thud that’s loud and dark — but almost instantly forgettable.

Despite the best efforts of McGovern et al., The Chaperone is lightweight trifle.

Of course, Gilliam’s quest to make his Don Quixote film mirrors the original novel, and the movie he finally made is like a funhouse mirror version — filled with wonderfully, sometimes disturbingly strange imagery as tragedy meets comedy meets romance meets the noble glory of the artist sacrificing nearly everything in the quest to make lasting art.

Despite the strong performances and more than a few audience-pleasing moments where peace and love triumph over stupidity and bigotry, the film travels such an obvious path and falls into such a predictable rhythm, it doesn’t quite carry the emotional resonance such a powerful true-life story should convey.

Thanks in great part to the staying power of the source material, and the blistering work by Ashton Sanders and KiKi Layne, Native Son leaves a lasting imprint.

It’s ugly but not scary. It’s creepy but not chilling. It’s one of the least successful adaptations of a Stephen King story since …The last Pet Sematary.

I loved the spirit and the heart of this film.

The talented director Billy Corben swings for the fences and takes a decidedly creative approach, but unfortunately, he devotes far too many at-bats to one particular stylistic choice. Either you’ll find it original and funny and suitably outlandish, or, like me, you’ll grow weary of the technique.

A chilling and valuable reminder of acts of madness, and acts of heroism, that should never be forgotten.

Fortunately, Dumbo is so awesome and so determined and so brave, and the heartwarming aspects of the story are so impactful, we never stop caring.

An admittedly distinctive but ultimately mediocre movie that provides far more empty calories of exploitation than genuine food for thought.

Writer-director Nguyen cleverly unspools the story like a heist film, with Vincent wheeling and dealing every step of the way.

From the moment Rachael and Stefan look into each other’s eyes while we roll OUR eyes, The Aftermath is a runaway train of cornball cliches.

Even if you’ve somehow never even heard of the story upon which this film is based, it’s a crackling good lawman tale.