There’s a difference between “long” and “epic,” although in movie terms the two frequently get confused. Martin Scorsese delivers the former but not the latter with Killers of the Flower Moon.

While the movie remains a dazzling experience in terms of what the animation achieves, it indulges in what feels like sensory overload, seeking emotional heft in ways that slow down the action. The movie also falls victim, somewhat, to the blessings and curses associated with the multiverse, which offers infinite possibilities but also the occasional sense that there are so many permutations none of them matter all that much.

The Green Knight's sheer originality makes the film worth considering for anyone with a taste for such material.

The film turns out to be a fun but thin construct, fostering a sense of itchiness to see how and if it's going to pay off.

Director/co-writer Robert Eggers ("The Lighthouse") has sought to make the definitive Viking movie, and while the film issues a guttural cry for theatrical viewing, it is built around such a basic revenge plot as to blunt those simple charms.

As a first film, this movie would have surely been hailed for its promise. Held up against a debut that garnered a well-deserved Oscar nomination and honors for best original screenplay, it's easy to come way thinking that "Us" doesn't merit all that fuss.

The performances (especially the lead one by Shall We Dance's Koji Yakusho) are all quite good, but I was once again stuck watching a movie that's solely about repressed passion, perhaps the least cinematic thing you could ever try to film.

Despite its beauty, several of those narrative touches don’t fully work, leaving behind a movie that’s aesthetically lovely but narratively uneven.

The dramatic height difference between the leads accomplishes a great deal of work in “Priscilla,” visually conveying the power disparity between superstar Elvis Presley and Priscilla Beaulieu, who he began wooing when she was just 14. Unfortunately, writer-director Sofia Coppola’s version of this oft-told story moves at a snail’s pace, offering fine performances but little to set one’s soul – or anything else – on fire.

A more-is-less epic that showcases the dazzling stunt work for which the franchise is known while piling on the action to near-exhausting extremes.

It's possible to admire the performance and still come away feeling director Pablo Larrain's fictionalized movie doesn't significantly add to a story many of us already know in exhaustive detail.

Shirley was clearly intended for the film-festival circuit, offering a narrowly pitched story where it's easy to admire the performances without feeling like the journey adds up to much. While Moss captures the complexity of Shirley's personality, the movie sheds scant light on the underlying why of it all.

It’s a strange and intriguing but ultimately unsatisfying stew.

Energetic and sporadically funny, it’s a passable effort to jump-start a comic-book franchise that has enjoyed a long if uneven crawl across the screen.

Built around a predominantly Asian-American cast, it’s so determined to be crude and edgy that while its friendship dynamic lingers, its initial cleverness gets left in the rear-view mirror.

The movie’s earnestness can’t wriggle away from the pretty powerful temptation to tap out.

The heartbreaking aspect of Robin's Wish lies in the fact that Williams died without knowing what was happening to him, while there's uplift in Schneider Williams' determination to set the record straight. How well that works translating that specific mission into a stand-alone documentary is, to some extent, another matter.

The Fall Guy is too flat in the early going to fully meet that challenge, rallying toward the end without reaching the heights required to make a really big splash.

Deliver(s) adrenaline-fueled thrills, before fatigue creeps into the unrelenting mayhem about halfway through.

Kitano, thankfully, displays the occasional flash of showmanship, and he certainly establishes a unique tone, but troublesome things like plot and pacing don't seem to be to his liking.

“Ferrari” doesn’t click on all cylinders, featuring a miscast Adam Driver as the automotive mogul, in a Michael Mann-directed movie with some arresting moments that add up to less than the sum of its parts.

Overall, News of the World is a solid if unspectacular film, presenting a familiar story against an interesting historical backdrop. It just doesn't deliver quite the much-needed escape from their troubles to a contemporary audience that Kidd promises his crowds.

Fire Island primarily wants to be fun, not necessarily profound, so it needs to be consumed on those terms. Austen adaptations clearly never go out of style, but this latest variation reminds us that alone doesn't mean they pack enough accessories to completely validate the trip.

Both in its cultural specificity and the passage of time, Society of the Snow delivers a credible take on a remarkable story – augmented by the prolific Michael Giacchino’s score – while hampered somewhat by the limitations imposed by how those events unfolded.

Pixar movies have a habit for finding simple truths and tugging at the heartstrings, and Luca accomplishes some of that deftly enough before it's over.

The thrills don’t look cheap, exactly, but the whole thing feels a bit cheaper, as if this were the pilot for an anthology series titled “Tales of the Predator,” charting periodic visits through history.

I laughed out loud a few times during The Big Lebowski, and Jeff Bridges, as always, is very good, but after I write this review, I'll probably never think about the movie again. And I spend way too much time thinking about movies.

A Quiet Place Part II manages to be perfectly fine, and unsurprisingly, a more generic affair -- one that offers less for audiences to cheer, quietly or otherwise, beyond the renewed sensation of being frightened in the dark.