It’s got twists without being tawdry. Attitude, with sincerity. And Banks offers a reasonable rebuke to past ickiness, playing up the best elements of an old TV show’s original idea. Charlie’s Angels 2019 flies in the face of its tricky franchise past, and makes for a solid evening’s entertainment.

Even its ornamental excesses become beside the point, because the core conceit actually works. Boy, those George Michael songs bind the scenes together like Gorilla Glue. Nothing says quaint like Tom Ford storefronts, too. But these things fade into something warmer, grander, and even a bit telling.

The film is certainly worthy of a legendary metal band like Slayer. The inclusion of Live at the Forum makes the package even sweeter, documenting the band’s latter era as they approach the end of their touring career. Thanks to Johnson and Isham, the band finally has the proper visual supplement they deserve.

It’s handsomely made, and Erivo carries the film on her shoulders, but its movements are too clumsy to give Tubman the actualization she deserves.

This is sharp blockbuster filmmaking, coming at a time when IP is seemingly the only thing that gets any door open in Hollywood these days. Rather than churn out something cynical or pandering, though, Flanagan has instead taken that IP and instilled it with heart. Not just the chummy heart he’s hallmarked in past efforts, but the kind that comes from a creator who’s offered a chance to truly honor his influences and run with them.

It’s great to see Arnie and Linda Hamilton in the saddle again, and Davis and Reyes are welcome additions to the cast, but it’s probably time to terminate this franchise for good, and be thankful they went out on this serviceable note.

Despite failing to offer much in the way of freshness or originality, fans of the original will still find this new adventure a suitable companion piece. If nothing else, Double Tap should help to raise the public awareness of Zoey Deutch’s greatness, which is reason enough for the film’s existence.

The King is perfectly alright if you’re looking for a large-scale epic with dozens of extras and fine performances.

While Kevin Smith may never appear on a list of great filmmakers, his movies do understand something essential about getting older and growing up. Sometimes, we all just need to go back to the well.

Considering he’s spent nine whole seasons within his quirky New Mexico universe, there was never any doubt that Gilligan loves his characters, but goddamn does El Camino bring that idea home.

A tonal miss and technical meh, Gemini Man arrives looking and feeling self-defeated.

At the end of the night, The Addams Family is a comedy, and a good one at that, delivering the kind of morbid humor that reminds us why we’ll always accept their invitations.

For the band’s devotees, it’s a trip down memory lane and a true celebration of Metallica and their musical prowess. Isham captures an upbeat, positive energy from both the crowd and the performers, bringing the show to life as it happened rather than try to mask the shiny new surroundings with cinematic flourishes.

Mister America aims for the acerbic pitch of a ‘70s alternative political farce like The Candidate, but the parting feeling is that it’s just an overdeveloped ramble. It’s not ha-ha funny, which is fine in the world of a muted humor like this. But like Heidecker’s campaign, it’s not entirely convincing as a satire either.

The film has spent so much time telegraphing its own depth that it forgets to create any, and thus when that wig arrives, we have no reason to view it as anything other than ridiculous.

The Golden Glove definitely isn’t for everyone, and even when divorced from its more transgressive scenes, it’s not exactly a pleasant viewing experience. But for those not repulsed to the point of leaving the theater, there’s a lonely, human heart at its center.

The strong atmospherics and performances aren’t quite enough to keep In the Tall Grass from feeling like, well, wandering through a bunch of tall grass.

Even if Knives Out loses a micro-dose of its claustrophobia and tension in the second act, it’s in the name of undoing what we’ve come to expect of past whodunnit stories. It’s all part of what makes the film such an effective, entertaining, and contemporary spin on what’s no longer a worn-out genre.

The Irishman is a remarkable achievement that proves the best may yet to come from one of the most essential American filmmakers to ever live.

Regardless of its seemingly admirable intent and ambition, The Laundromat is not a good film. It’s sloppy, and self-indulgent, and in no way worthy of the self-satisfaction it brings to its big conclusion. It’s not without its amusing moments and solid performances, but it is, in the end, a thoroughly frustrating and tedious experience.

In spite of sensational direction from Trey Edward Shults and raw, emotive performances by Kelvin Harrison, Jr. and Taylor Russell, the polarizing two narrative halves of Waves don’t gel to produce a satisfying whole.

Ford v Ferrari is a classic Hollywood underdog film about friendship and overcoming obstacles. Mangold’s direction is serviceable, but unspectacular, while Bale is a dynamic presence.

Just Mercy is incredibly effective at what it sets out to do: change hearts and minds about capital punishment, bring more awareness to the brutality of killing other human beings in the name of the law, and highlight the racism and other issues of structural inequality that lead to the high margin of error in death penalty convictions.

Johansson and Driver both give strong performances, while the use of supporting characters for comedic levity is smartly executed. While the content of the film isn’t happy per se, audiences will find much to like.

At turns funny and harrowing, lyrical and stark, Honey Boy is a clear-eyed take on toxic family dynamics, fame, emotional and physical abuse, and accountability. It’s a rare treat to see characters and their pain taken so seriously and treated so delicately.

The film isn’t — as crazy as this sounds — a total wash.

Dumb as hell, gory as can be, and reliant on the hilarious idea of Stallone traveling at the speed of sound to ambush a few dozen cartel soldiers.

The strengths of the series are the strengths of the film. It looks great. It sounds great. If it could, it certainly would smell great (like rain, Earl Grey, green grass, and freshly baked bread.) And above all, it’s beautifully acted by a cast able to land both the punchlines and the punches.