The movie still works, if somewhat marginally, in portraying the culture that allowed such behavior to fester, the mix of fear and going along, coupled with a fleeting compliment and the burning desire to get ahead.

The Rhythm Section can't quite get its act together. Featuring a solid performance by Blake Lively, it's not bad exactly, but plays like a malnourished Jason Bourne wannabe, crossed with the grittier side of "The Girl With the Dragon Tattoo."

The Gentlemen [is] just stocked with an inordinately good cast. Filled with crosses and double crosses, the plot is mostly irrelevant, but the outlandish flourishes make for a good deal of foul-mouthed fun.

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.

As is, this update of a brand of buddy action-comedy Hollywood churned out with regularity way back when is a pretty shoot-by-numbers affair, beyond the mild kick of acknowledging that the central duo are getting a bit old for this sort of thing.

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.

The key is that Mendes (whose eclectic resume includes "American Beauty" and two Bond films, "Skyfall" and "Spectre") doesn't sacrifice the movie's heart in the service of its logistical considerations.

Those advocating for the movie as an Oscar contender might be overstating its merit, especially in a year with an abundance of options. But as a warm-hearted holiday release, Gerwig has created a "Little Women" for the 21st century, which, if history's any guide, will still be watched and compared to editions past and future not only through this century, but into the next.

There's nary a note of surprise to be found, but the heroism and man-dog bond carry the movie along.

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.

The Rise of Skywalker feels like a welcome course correction, featuring sequences and references that more cynical minds will dismiss as "fan service," but which derive emotion and power precisely from the bond and investment the audience has forged not just with this permutation on the story, but all of it going back to the original trilogy.

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.

The film makes a sobering point about the danger of rushing to judgment and trial by media, but undermines that with its ham-handed approach to key parts of the story.

6 Underground proves so uneven in its tone and unrelenting in its volume that it's hard to imagine a hole deep enough in which to bury its silliness.

The primary avatars -- Dwayne Johnson, Kevin Hart, Karen Gillan and Jack Black -- seem to be having an awfully good time with all this silliness, which is mildly infectious, even when the movie sags.

What Bombshell briskly details is how and why Fox News -- and those who possessed the grit to stand up -- came under that unwelcome spotlight, one brick, and abuse, at a time.

Because the first movie generated such a bracing gust of enthusiasm, Frozen 2 will inevitably be nitpicked and judged against those lofty standards. Still, there's plenty to enjoy for those willing to chill out, and yes, let the past go.

The main drawback to A Beautiful Day in the Neighborhood -- directed by Marielle Heller ("Can You Ever Forgive Me?"), from a script by Micah Fitzerman-Blue and Noah Harpster -- is that it tends to leave you craving more about Fred Rogers, and less about Lloyd.

Beyond the fundamental horror of corporate greed trumping public-health concerns, the movie -- while often bleak and unsettling -- does find hope in the idea that one ordinary guy can make a difference. Dark Waters' message, though, is something bigger -- namely, that turning the tide is a task that will ultimately require a commitment from all of us.

Prone to long, leisurely exchanges, and frequently darkly funny, Scorsese's narrative has an almost Zelig-like quality in terms of the notorious figures that passed through Frank's orbit. Pacino, meanwhile, is the explosive counterpoint to De Niro's clenched character, the real raging bull here.

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.

Charlie's Angels has just enough fun with the premise to be tolerable, and not enough to justify a reboot that nobody really needed. This latest big-screen spin on the 1970s TV series brings playfulness and a stronger feminist streak courtesy of writer-director-co-star Elizabeth Banks, but it lacks the consistency to earn its wings.

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 makes Marriage Story work, mostly, is the raw nature of the performances -- allowing the stars to flex different muscles than their respective blockbusters -- and the agonizing aspects of the two trying to shield their young son while losing contact with what made them love each other.

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 Current War is a fascinating story, badly told.

"Dark Fate" earns its favorable judgment by cleverly and effectively adding to that legacy. The only drawback is that accomplishment merely makes it more likely that in one form or another, sooner or later, yep, they'll be back.

An awkward, uneven film, with writer-director Taika Waititi conjuring some touching moments, but unable to pull off the magic act this "Rabbit" trick requires.