Choose Love strains the storytelling to fit the gimmick, in a special that does its central character no favors by making her race through the trio of suitors suddenly in her life.

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.

“Chris Evans and Ana de Armas” is about all that’s required to make the sales pitch for “Ghosted,” a spirited if familiar action-based romantic comedy, where the sparring banter generally outshines the muscular stunts. Throw in clever cameos and this Apple TV+ movie delivers on its promise of unpretentious fun.

Call it what you will, but this Chris Farley-David Spade re-teaming might as easily be dubbed "Tommy Boy 2," with a slightly less satisfying mix of broad physical gags and bodily function humor. Riding the recent wave of stupid cinema, Paramount figures to shear off good business among undemanding teen audiences with this fitfully funny entry, seemingly crafted for people who find the new "Saturday Night Live" too intellectually challenging.

A comedic dud that's aptly titled, since it makes loud noises without really needing to be seen. The one thing unlikely to be heard during this Netflix superhero spoof is a whole lot of laughter.

An extremely clever concept that takes the "spares" in the royal equation and turns them into a superhero group. While hardly a blockbuster, this Disney+ movie occupies the upper tier of the kind of movies that have proved quite popular for Disney Channel.

Apatow serves up some clever lines, but they're mostly lost in the overall noise and manic tone. While it's not necessarily too soon for a funny Covid movie, The Bubble labors to achieve a sought-after level of zaniness right up until the ending.

Like “It,” “Five Nights” wants to milk horror out of something associated with the innocence of childhood, and on that level the quirkiness of the visuals and initial moments of wit likely provide enough of what audiences want to survive, commercially speaking. Even so, the net result is another slice of horror that at best feels a little half-baked.

An R-rated gals-night-out comedy that, thanks to the talented cast, delivers a few genuinely amusing moments, but which falls a couple of glasses of chardonnay short of being a good time.

Cats isn't quite the unmitigated disaster that some feared -- or perversely hoped -- but it's not good, delivering a mostly incoherent adaptation of the long-running musical. An eclectic roster of stars claw out a few meager moments, but as screen experiences go, this is a memory best forgotten.

A new do-over that can barely generate enough heat to qualify as a thriller.

The Secret: Dare to Dream at best feels like a tepid distraction even for those receptive to its blueprint, far from the stuff that dreams are made of.

An expanded role for Salma Hayek is the newish wrinkle here, although that's hardly cause for an encore, or even an extra apostrophe.

“Rebel Moon” might look big and splashy, even on a TV screen, but in terms of working as drama, it’s less a rebel yell than a low-key rebel grunt.

Part heist movie, part family reunion, the film draws upon the most salient characteristics of the flabby feline, but mostly as an excuse to build a story that seems to crawl further from its origins with every passing frame.

Expanding upon King’s creepy concept represents a reasonably solid October-timed diversion amid the latest gluttonous wave of movies and TV derived from his writing.

A bloody mess.

Artemis Fowl isn't an unqualified good egg, but it's perfectly adequate, and the best of the kid-friendly movies redirected to streaming by coronavirus -- a low bar, admittedly, after "Trolls World Tour" and "Scoob!"

Again rated R after softening the rougher edges the last time, the body count is certainly off-the-charts high, but the action – under the guidance of stunt coordinator-turned-director Scott Waugh (“Need for Speed”) – is about as generic as these things get.

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.

A fairly limp documentary.

The aroma of "Cats" has yet to fade, but Universal follows it up with another animal-related stinker in Dolittle. Robert Downey Jr. produced and stars in the title role, but even charitably taking into account that this was designed for a younger family audience, talking to animals in this retelling is somehow a colossal bore.

Ultimately, Madame Web might have sounded like an interesting experiment, and it sort of is, but the execution feels less like a fully realized film than an extended prologue for a movie to come.

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

That seed of potential, however, sails away on a tide of numbing stupidity.

Me You Madness serves as a reminder that you can clearly try to be funny, and still produce something that turns out to be kind of a joke.

Long Live Rock finally feels like an ode to this tribal art form that doesn't possess much appeal, despite its intentions, to those outside the tribe.

Trevor: The Musical can't help but feel partly encumbered by the "important" label, bringing lessons about self-acceptance to Disney+, whose parent company has been a ripe target for controversy. Yet this filmed version of the off-Broadway show works as a triumph for the young cast and especially the relatable lead, powering past its lesser aspects with infectious energy and a touching message.