Home Sweet Home Alone is a very odd duck -- a movie that basically replicates the three-decades-old "Home Alone" template, but in a way that feels slightly weird and ill-conceived. Dropping on Disney+ in connection with the streaming service's two-year anniversary, it's a reminder that not all well-known intellectual property ought to be let out of the house.

Hall captures how the two women chafe against the system and its limitations in different ways, and shoots the film with a haunting, almost hypnotic quality. That atmosphere, in a sense, is stronger than the story, but it's more than enough to make Passing a movie that shouldn't be passed by.

Branagh has directed all kinds of movies over the past 30 years, from his frequent adaptations of Shakespeare to "Cinderella" and the aforementioned "Thor." It's perhaps appropriate, though, that his most personal film would also turn out to be his crowning achievement.

As big as he is, you still have to look pretty hard and uncritically to find much magic in "Clifford."

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.

Director Miguel Sapochnik ("Game of Thrones") does what he can to wring the maximum amount of emotion out of this unlikely trio, finding moments of tenderness and humor in their interactions.

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.

Overall Last Night in Soho's way-back machine delivers a thrilling trip, one that niftily brings a bit more Taylor-Joy to the world.

Strictly on its own merits, other than Emmanuel's standout performance, Army of Thieves doesn't steal much more than your time.

The net effect isn't necessarily bad assuming that expectations are modest, and there's something to be said for a more understated, small-scale approach to horror that doesn't confuse body count with scares. Yet considering where the story starts, the place where Antlers winds up doesn't leave much to hang one's hat on.

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.

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

Four Hours at the Capitol might be unlikely to change many hearts or minds, but watching the evidence months removed from the heat of the moment and the chaos that unfolded live on TV makes it difficult to entertain arguments that the media has overblown or misrepresented those images.

It's an intense experience, one whose focus is undeniably stirring but which leaves certain aspects of Blair's life and resume somewhat underdeveloped.

If the previous movie conjured a bit of excitement by eradicating everything that had transpired after the original, that sense of novelty has quickly worn off.

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.

Fauci makes no pretense about where its sentiments lie, lauding a figure whose critics have seemingly twisted his image beyond recognition in their attempts to demonize him.

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

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.

Two head-chomping symbiotes aren't better than one in Venom: Let There Be Carnage, a mind-numbingly tiresome sequel, filled with uninspired comedy and a CGI monster fight that seems to drag on forever.

To its credit, this two hour, 43-minute movie (thus making the title a bit of a lie) assiduously builds on everything that the recent Bond movies have established, in a way earlier incarnations generally didn't. That has deepened the character, allowing Bond to experience grief, loss and love without hitting the reset button, the recurrence of the villainous Blofeld notwithstanding.

The Guilty is a taut, remarkably spare thriller.

While the film says something that matters, for a show whose press notes proclaim it a "generation-defining Broadway phenomenon," a great deal appears to have been lost in translation.

The Many Saints of Newark turns out to be a credible and rewarding film. But with a bit more seasoning and time in the oven, like its HBO predecessor, it actually might have risen into a truly sensational TV show.

The stars outshine the movie in The Eyes of Tammy Faye, a dazzling showcase for Jessica Chastain and Andrew Garfield as Tammy Faye and Jim Bakker in a dutiful, somewhat disjointed chronicle of how the televangelists amassed great wealth before his disgraced fall.

An understated, uneventful slog of a movie that feels like a misguided merger of "Gran Torino" and "Bronco Billy."

Look, we get it, people are looking for new stuff to watch, mindless escapism included. Still, in terms of any sort of inspiration or originality, "Kate," the movie, is every bit as D.O.A. as Kate, the character.

Much like "Hamilton" on Disney+,Come From Away delivers a best-seat-in-the-house view, offering a moving, brilliantly shot and staged spectacle that brings that moment unerringly back to life.