What You Gonna Do When the World’s on Fire? is hardly a disappointment, but it does, in places, feel like a missed opportunity.

By the time “Old” is over, the strongest feeling it leaves us with is that it just got 108 minutes shorter.

It’s an ambitious piece, but in the dance between experimental ideas and grounded storytelling, Aviva should have listened to her body.

It’s not a sequel; it’s a replica. And while that might bring some comfort and joy during the holiday season, wouldn’t you rather savor the real thing?

It’s not a thriller, it’s not really a comedy, and it’s unlikely to start a revolution despite a cruel jolt of a final shot.

It’s an impressive feat of filmmaking, but one that reveals nothing new, a major misstep for a film seemingly dedicated to doing just that.

For all the texture of the film, which was shot in and around a New York City vibrantly retrofitted to the story’s 1998-set specifications (costumes, music, locations, the whole kit), the hammy way important beats and plot points are served up feels out of step. It doesn’t pop, at least until the film’s final act, which finally brings together Aronofsky’s disparate parts and shows an inkling of what the filmmaker was attempting to capture.

With Shaye’s performance as its anchor, the movie is often a perceptive character study, at least until it’s hijacked by the same bland trickery that so often fogs up horror movies with more to offer.

Small touches point to a slightly better movie hiding beneath most of the routine, particularly the respectable finale that stops just short of the clichéd resolution expected of it. On the whole, however, The Way, Way Back dances to a tune we've heard too many times before.

Fans of the original film will still find something beautiful underneath, and “Riding Free” acolytes will likely delight in seeing a splashier take on a story they already love. Everyone else, however, might wonder when they can hope to be set free from this story, just like Spirit.

Before We Forget may not be in quite the same league as Guadagnino’s work, but fans of the latter will find plenty to long for here, even if the sluggish modern-day components detract from the compelling, sensitive love story they look back upon.

At the core of it all, Juri’s performance is a marvel of coiled emotion and wide-eyed wonder at the world around her. It’s just that the film around her does a disservice to that performance.

This Bob Ross doc isn’t just messy, it one that paints a mixed portrait that’s hard to decipher.

As much as I’d love to see these characters in another film, I’d also love to have seen more of them in this one. Oh, and a quick general note to action directors everywhere: Silencers are great for stealth kills, but they really suck the fun out of a full-blown siege.

It’s a dazzling showcase of fantasy-based filmmaking in the 21st century that also manages a feeble attempt at injecting feminist politics into an antiquated narrative. Yet its eventual climax strains from the obviousness of these efforts.

A gritty romance that only translates some of the source material’s poetic bent to the big screen.

It almost doesn’t matter that the movie is too emotionally prescriptive to have any real power, or too high on imagination to leave any room for wonder; DuVernay evinces such faith in who she is and what she’s doing that “A Wrinkle in Time” remains true to itself even when everything on screen reads false.

The film’s eye-popping, blood-soaked vistas are a marvelous sight, as are a number of its era-specific details, and its handful of striking moments of queer samurai imagery. However, for the most part, Kitano’s tale of ambition and beheadings — many, many beheadings — loses nearly all momentum in its second half, before settling into a rote, repetitive rhythm.

While many of the film’s beats are familiar, director Gary Alazraki’s version of this classic family comedy often misses one essential ingredient: real humor.

At the end of the day, it’s the action equivalent of a secondhand musical – you’ll most likely come for the dance scenes, and they’re good enough to wade through the filler.

Despite some clumsy moments, My Big Fat Greek Wedding 2 handily revives the first movie's appeal.

Much like its message, Disenchanted reminds us that every moment has the potential for providing us with a happily ever after, but it’s the good and the bad that makes it ever more enchanting. Did we need a sequel to “Enchanted”? Not really, but it’s cute enough to cast a bit of an escapist spell this holiday season.

Gottsagen is sympathetic without being pitiable, sweet without being saintly, and funny without making himself the butt of every joke. While the writing is often perfunctory, Gottsagen has a way of making every story beat feel sincere.

Fans of “The Raid” franchise will feel right at home, even if Mayhem! never approaches the operatic scale that made the fight scenes in those movies feel larger than life.

While Deadwyler turns in a remarkable performance as Mamie, beautifully calibrating her love and anger in one riveting package, the rest of “Till” is prone to trope-ridden, predictable sequences that do little to advance her story or Emmett’s legacy.

It never crystallizes into a singular experience, and instead collapses in a rush of well-intentioned innovations.

The Weight could use a tighter edit throughout, but it’s not without one central force pulling the film across its Europe-shot version of the Oregon Trail, and that would be Hawke.

With its “Glee”-colored dance numbers and drag-lite drag scenes, Everybody’s Talking About Jamie just isn’t serving.