One wishes the movie had a little more heft to it. It's fine, even welcome, to see a superhero exult in his abilities, and on that level, "Shazam!" is generally fun. Even so, that lightning symbol notwithstanding, the film only occasionally conjures the spark of magic that gives the title its meaning.

Eternals simply takes too long getting to the good stuff, and its more cerebral and adult elements – including a grand romance – could harbor less appeal among kids, a not-inconsequential demo, than most recent Marvel titles.

The result is a humanizing look at a woman often reduced to cartoon caricature, while occasionally feeling too conspicuously like a licensed product.

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.

Earnest to a fault, Respect spells out a handsome tribute to Aretha Franklin, with Jennifer Hudson and her peerless singing pipes as its formidable anchor. Yet this biography never fully sparks to life, as the Queen of Soul fights in episodic fashion to establish and later protect her musical legacy from the domineering men in her life.

Director Todd Phillips is best known for "The Hangover" trilogy, and has seemingly overcompensated for his comedy roots by delivering a movie virtually devoid of humor.

A solidly made animated feature, but one more notable for the height of its aspirations than its consistent ability to deliver on them.

This animated sequel plucks enough of the right buttons to qualify as a reasonable addition to family movie time.

Proves just clever enough to come out on the right side of a split decision.

“Axel F” only turns up the heat to a low simmer, but as breezy escapism goes, those armed with the proper attitude might find themselves doing the neutron dance, or a version of it, all over again.

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.

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.

Last Christmas isn't the assembly-line product it could have been, but nor is it as special as it seemingly intended to be.

The Outpost manages to be both harrowing and less than completely involving, a movie that can be admired for its visceral portrayal of war while leaving the characters underdeveloped.

There's an unintended kick, in the current moment, watching a movie designed to make you want to flee the confines of a house.

Makes puzzling choices in harvesting the material, mostly providing an incentive to go back and watch the last one again.

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.

A sort of welcome throwback, a horror movie cleverly designed to be more spooky than truly grisly. That leaves it, however, in a bit of a no-man's land, as this PG-13-rated film is still too scary for the tweens that might be drawn to the challenge and not jarring enough for older horror buffs accustomed to far worse.

Although the movie is visually impressive, the Chinese-American co-production suffers from a too-thin story, built upon a heavy-handed message soaked in that oldest of Disney tropes: a dead mom.

Greta Thunberg's inspiring children's crusade on the climate-change crisis receives dutiful if somewhat sluggish documentary treatment in "I Am Greta," an intimate portrait of the teenage activist that at its best conveys her courage and spirit, before bogging down in what becomes a somewhat repetitious call for action.

The Nun II doesn’t trifle with the formula, which relies heavily on jump-out-at-you scares, vivid nightmares and spooky spectral visions.

A "Rashomon"-like tale that tells its story from different perspectives, this fact-based adaptation of Eric Jager's book is muddy, bloody and grim but too drawn out in filtering 14th-century feudal norms through a modern prism.

The Perfect Find falls well short of perfection, but it’s the kind of low-key romance that often finds an appreciative audience on Netflix.

While the haunting aspect of the photograph grounds “Emancipation” in reality, there’s a pronounced Hollywood-ized feel to the finished product, one that doesn’t compare favorably with other projects that have covered similar territory, among recent examples the biographical “Harriet” and Amazon’s fictionalized miniseries “The Underground Railroad.”

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

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 movie conjures some of the goofy charms associated with the franchise, but sags in its midsection like "Endgame"-vintage Thor before nicely rallying at the finish.

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.

The Idea of You will likely be most satisfying for those who choose not to sweat the details, enjoying the scenery and fantasy wrapped up in it. Think of it as one of those movies that really reinforces the adage there are no new ideas, just fresh versions of old ones set to different beats.

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.

Nightmare Alley spends too long spinning its wheels before getting to the more pertinent twists about the dangers of conning the wrong people, as well as the shadowy motivations of all concerned.

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.

A movie that offers gore, comedy and just plain silliness, but falls somewhat short of a complete meal.

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.

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.

At its best Ghostbusters: Afterlife simply delivers a good time, combining the upgraded special effects with comedy and youthful angst, while taking a little too long to get to the good stuff.

The story's unrelenting nature works against it, blunting the lure of seeing Adam Sandler in one of his occasional dramatic performances -- a showy role, yes, but in a movie that proves all that glitters is not gold.

Jon Stewart resurfaces with a politically savvy directorial effort, Irresistible, that's a bit too heavy-handed to live up to its title. Delving into the corrosive influence of money on politics, Stewart's second film exhibits passion for its topic and cleverly registers an important point before it's over, but labors too much getting there.

Helen Reddy might seem so 1970s, but her song "I Am Woman" became a feminist anthem of its time, and serves as the title and centerpiece of a reasonably good movie biography, if one that -- perhaps due to the nature of her life -- feels a little like the Hallmark Channel version of "Bohemian Rhapsody."

The result is a sturdy but unspectacular film, one that honors Chisholm’s place in history while representing just one, too-concentrated facet of her giant shadow.

Park and Wong are both innately likable, which makes the movie pleasant enough to watch, but also a bit of a slog given the ostensible inevitability of where it's heading.

The simplicity of the premise puts more pressure on the animation, which is crisp and occasionally beautiful, but not especially imaginative in its design.

In theory, it's all pretty familiar stuff, but veteran action director Martin Campbell ("Casino Royale") and writer Richard Wenk ("The Equalizer" movies) have sought to spice things up where they can.

Although it's nice to see the show's creative team afforded one final swing, it's too bad they don't knock it out of the park.

As war movies go, The Ministry of Ungentlemanly Warfare ends up in a kind of no-man’s land, draping elements of “Mission: Impossible,” “Inglourious Basterds” and director Guy Ritchie’s brand of violent action-comedy over the bones of a fascinating World War II true story. The underwritten, somewhat messy results are broadly entertaining if not fully seaworthy from a dramatic point of view.

Whenever and wherever kids do see it, they're apt to enjoy it, while the theme reminds the adults in their lives that the differences and that come between families -- from politics to something as frivolous as a kid's bedroom -- finally aren't as significant as the deeper bonds that they share.

Trigger Warning might not be packing anything unexpected in the chamber, but for those who come to it with the proper mind-set, the movie doesn’t wind up firing blanks either.

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.

The challenge with any reboot invariably involves capturing what people liked about its inspiration while bringing fresh wrinkles to it. On that level “Road House” moderately works – specifically, for the intended audience – with the disclaimer that trying to look bigger and being bigger aren’t necessarily one and the same.

There's a good movie to be made about a woman wading into late-night TV's headwinds -- both in front of and behind the curtain. Despite solid moments, Late Night isn't consistently it.

Playfully presented, it’s the kind of mildly tasty cinematic snack that doesn’t exactly stick to your ribs.

It drags on nearly three hours, until a level of numbing repetition creeps into its elaborately staged scares.

The appeal of Fatherhood really boils down to its title, the resilience of the human spirit, and Hart being bold enough -- like his alter ego -- to think that he can do this. And like Matt, by the time it's over, he's demonstrated that he pretty well can.

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.

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.

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

Diana: The Musical might make for a fine night out at the theater, but viewed on Netflix, what's billed as a "special presentation" becomes another shiny bauble that ultimately doesn't feel particularly special.

The net effect is mildly enjoyable, creating a throwback caper film that showcases its stars doing what they do best, or rather for which they're best known.

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.

Despite a glittering pedigree, the result is an earnest film deficient in the inspirational qualities of its subject matter.

George Clooney takes his biggest directorial swing yet with "The Midnight Sky," and comes away with a decidedly mixed result. A beyond-bleak post-apocalyptic thriller, the sci-fi film reaches a reasonably satisfying finish, but follows an uneven orbit in getting there.

The closing kick of The One and Only Ivan is somewhat stirring -- and certainly works hard at being so -- but it's pretty tepid until then.

This adaptation of Simon Rich's novella has some fun contemplating how the modern world would like to a 20th-century immigrant, before scraping the barrel for deeper themes.

While there are some new details in the telling, the net effect leaves the Smith that people didn’t know, other than those meticulously airbrushed photo spreads, largely untouched.

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.

Add "Stephen King's Doctor Sleep" -- the long-delayed sequel to "The Shining" -- to the list of movie and TV adaptations based on the author's work that shine at first, before flaming out down the stretch.

What’s billed as a horror-comedy thus can’t entirely decide where it wishes to land on that spectrum, in a movie that benefits from letting Cage cut loose without fully capitalizing upon his full-throated performance.

Ultimately, though, the movie feels most notable for the cast assembled, from Harrison -- who subsequently starred in "Waves" and "Luce," and is again very good here -- to smallish roles for Jerome (an Emmy winner for "When They See Us") as a witness and Washington ("Tenet" and "BlacKkKlansman") as James' partner in crime.

Ultimately, The Little Things meanders a bit too much with stakeouts and the drudgery of police work before getting to the meat of its psychological core, which offers a provocative payoff, if not perhaps one good enough to fully justify the journey.

The best parts should strike a mildly receptive chord with parents while potentially boring younger kids, a prescription that could subject the movie’s imaginary friends to a harsh reality once audiences in summer-movie mode get a good look at it.

Neither film is especially memorable, which is too bad, squandering Rosamund Pike as Marie Curie and Ethan Hawke, very intense and brooding as Nikola Tesla.

The story plays like a rather tired excuse to redo the first story with a few cosmetic tweaks, hoping to tap into adult nostalgia while potentially attracting a new generation of kids.

Despite its satirical tone, The Beanie Bubble largely plays things pretty straight – indeed, a little too straight, when a bit more humor and whimsy would have helped – with Galifianakis portraying Warner as the kind of self-absorbed, ruthless narcissist who’ll say anything to get what he wants (or really, needs) without necessarily possessing the savvy or discipline to hold onto it.

Fast & Furious Presents: Hobbs & Shaw is an awfully long-winded title for a movie with roughly the same plot as the 1989 squabbling buddy vehicle "Tango & Cash," only with bigger -- well, pretty much everything -- and better special effects.

Director Elizabeth Banks conjures bursts of absurdist energy and humor without delivering anything approaching a sustained rush.

Clocking in at a welcomely brisk 105 minutes, it’s Marvel’s shortest film, but a lighter tone that occasionally borders on a sort of cosmic “Freaky Friday” doesn’t consistently make the movie fly, much less soar.

Amy Adams nimbly steps back into the role of an animated princess trying to adapt to the live-action world, in an epilogue to “Enchanted” that has moments of magic without completely delivering on the premise.

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.

Mostly, this fun-in-the-sun romp in Australia (because hey, it’s summer there) serves as a showcase for Sydney Sweeney and Glen Powell, who amiably meet the demands of the exercise even if the script only occasionally follows suit.

The best one can say about this mildly fun film is that it runs a brisk 80-something minutes, meaning parents can take the kids and have time left over for other holiday errands.

House of Gucci takes a seemingly can't-miss combination of talent and material and produces what feels like the knockoff version of a really grand drama. Lady Gaga and Adam Driver bring buzz to director Ridley Scott's dive into the dysfunctional family behind the fashion empire, but in a movie that doesn't rise to the level of delicious trash, winding up largely defined by its stylish accessories.

While the new Rebecca is a lot of things, irresistible, alas, isn't one of them.

Reuniting star-producer Ryan Reynolds and director Shawn Levy after their winning collaboration on "Free Guy," The Adam Project has the generic feel of a project created by committee, combining action, humor and smart-alecky one-liners in a way that's at best aggressively okay. That's probably enough for Netflix coming off a success with Reynolds in "Red Notice," but like the film's plot, this amounts to rehashing history.

Thanks to Chiwetel Ejiofor and Anne Hathaway it's mildly watchable, but mostly an artifact that might look better after a few years in the Covid time capsule.

The world-class pairing of Helen Mirren and Ian McKellen is the only calling card that The Good Liar needs. Yet even these two knighted performers -- in a rare star vehicle for a pair of senior citizens -- can't elevate this adaptation of Nicholas Searle's book, which clearly wants to be twisty and Hitchcockian but never quite gets there.

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.

Sly possesses value as a pop-culture record, letting an influential talent tell their story to those weaned on their work. Compared to the best of that fertile genre, though, it’s more of a lightweight than a genuine contender.

American Skin is worth seeing, for the issues Parker seeks to address, even if it only partially works in leaving a mark.

“Scoop” juggles so many timely balls it’s a bit of a shame the film doesn’t accomplish that task with more dexterity.

At its best this White Men Can’t Jump conveys the fragility of hoop dreams, while tackling what former players do with their lives once the promise of signing bonuses and sponsorship deals appears to have fizzled. (NBA star Blake Griffin, incidentally, is among the producers, joining several of his contemporaries in establishing a Hollywood toehold while still suiting up.)... On that level, at least, the movie works reasonably well. It’s the hitches in the rest of its game that prevent it, even as a streaming proposition, from being anything close to a slam dunk.

As Marvel movies go, "Morbius" is more a sip than a gulp, a relatively small-boned Jekyll-and-Hyde tale that moves another Spider-Man villain into the spotlight. Significantly better than "Venom" but still somewhat lacking in bite, this origin story perhaps inevitably grows more pallid toward the end but until then proves just tasty enough to merit the giving it a shot.

A nonstop sci-fi action movie that basically gets the job done with a plot that recalls Disney’s “Big Hero 6,” just with a lot more cursing.

Set in Berlin, the Speed-like conceit possesses a crisp and efficient stupidity before, predictably, running out of gas.

Ricky Stanicky might be imaginary and doesn’t measure up to its promise, but in terms of that basket within the wrestler-turned-actor’s filmography, it at least fits Cena like a glove.

Steeped in old-fashioned virtues and a feel-good underdog story, The Boys in the Boat isn’t bad, but it doesn’t ever navigate its way out of the shallow end of the sports-movie pool either.

“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.

The main challenge is that there’s simply not enough heft in the story to fill out this wild-and-crazy weekend, which requires a level of embellishment that alternates between cute and absurd.

Sweeney ably carries the film on that level, though there are beats courtesy of director Michael Mohan and screenwriter Andrew Lobel as likely to elicit uncomfortable chuckles from the audience as fear.