Missing doesn’t try to reinvent the concept so much as recycle it, and the more the audience is willing to just roll with that, the more they’ll enjoy it. Yet even making that allowance, it should be taken as a cautionary note to any plans for future sequels (or reboots) that this sleuthing-by-computer thriller is already beginning to run in low-power mode.

The film, while technically superb, feels like it wins several battles but doesn’t entirely qualify as a success in terms of the overall war.

Think of Ticket to Paradise like a postcard of beautiful people having fun in a beautiful place and you’ll get along just fine. Giving it much more thought than that won’t help this rom-com vehicle for George Clooney and Julia Roberts, although the “com” part proves a trifle deficient in a movie that’s significantly better when it’s sweet than salty.

While “Honk for Jesus” isn’t a perfect movie, give it praise for at least being an interesting one.

For all that the film does well, in trying to balance its cerebral, visceral and sequel aspects, Candyman appears to have bitten off a bit more than it can chew.

Thin as biopics go, the power of Abela’s portrayal elevates the film, providing a poignance and strength that’s the clearest motivation to go, go, go.

There's one clear reason to watch The Life Ahead, but for those who appreciate cinematic history, it's a good one: Sophia Loren, still striking at 86, starring in this Italian-language film directed by her son, Edoardo Ponti.

On the plus side, writer-director James Gunn's movie is superior to its predecessor on most every level. Balancing that, the R-rated mayhem becomes a trifle numbing, blunting the overall effect.

If “Get Out” refreshed the genre in part by weaving in themes that invited a thoughtful conversation about race and racism, Nope is more modest in its intentions in a way that makes it more enjoyable the less you dwell on the details, ultimately feeling quirky without fully paying off its more intriguing ideas.

For those craving an action distraction, it's a reasonably entertaining way to kill time.

Taylor Swift details the process that lead her to speak out politically in Miss Americana, an uneven documentary that provides behind-the-scenes insight into the singer's upbringing and awakening, while occasionally feeling like the kind of celebrity reality series you might find on E! or Bravo.

It's another timely, thought-provoking message from a filmmaker known for them, in a movie that piles so much on its plate as to fall short of Lee's best.

Confess, Fletch doesn’t possess a whole lot of heft, but it manages to serve as an old-fashioned and playful star vehicle, carving out a version of the character that’s distinctive from Chase’s broader, more slapstick-oriented take.

Still visually dazzling and overwhelming in its scale, Dune: Part Two becomes enmeshed in the political denseness of author Frank Herbert’s world, unevenly marching through this part of the story before rather abruptly coming to an end.

The undercooked plot works just well enough to fuel this vehicle for Jamie Foxx and Joseph Gordon-Levitt, mashing up old movies in a fast-paced package.

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.

That doesn't translate into magic, but in terms of improving on the original, giving the stars some reasonably good material to play and delivering action within its PG parameters, Mistress of Evil pretty much threads the needle.

The story chronicles a fascinating moment in the civil rights movement, without yielding quite the returns that it should.

If the last “Scream” movie made noise by wedding the old with the new, Scream VI reinforces how shrewd the producers were in casting the next generation, with Melissa Barrera and Jenna Ortega ably carrying this chapter of horror’s most self-referential franchise. Throw in a new venue and the same old thrills and kills, and Paramount should be slashing all the way to the bank.

The result is a breezy exercise in karaoke for kids, where the soundtrack beats the movie and a lot of stars again lend their voices to the chorus.

The underlying story is better than the movie in “The Survivor,” but that material is so harrowing as to win on what amounts to a split decision. Timed to Holocaust Remembrance Day, the film isn’t equal to the awards bait HBO has traditionally offered in the TV-movie genre, but it should inspire plenty of googling about the remarkable tale of Harry Haft.

A spare thriller from director/co-writer Robert Rodriguez that has the feel of a “Twilight Zone” episode, with no shortage of twists along the way.

Those who give in to the gleeful crudeness of it all will be rewarded with some funny moments courtesy of the near-unrelenting dog’s-eye view, although fair warning, most of the best stuff is in the red-band trailer.

Judy is well worth seeing, if not necessarily rushing to a theater to experience, thanks to Zellweger's uncanny ability to replicate Garland's quirks and still locate the humanity and fragility within her.

As is so often the case with these movies, the buildup is generally more terrifying than the payoff, and Savage doesn’t scrimp when it comes to jump-at-you scares.

“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.

“A Haunting in Venice” continues a brand of breezy entertainment that suggests whatever the detective’s goals, retirement doesn’t appear to be in the cards.

"Part One" represents an admirable effort to do the material justice.