While there’s nothing egregiously cynical about the film’s nature or design, its forensic tone belies the familiarity of its evidence, and its subject has already been too well-excavated for the sincerity of Monroe’s efforts to shake off that signature true-crime stink (the pungent stench of a once-proud medium that’s been left to rot on streaming).

Hot Milk dribbles when it should feel crisper, less torpid, but that’s perhaps to match the inner decay of everyone onscreen, and the metastasis of the most interminable vacation ever known.

The middling but enjoyable Voyagers is meant to be a timeless parable about the primitive essence of human nature; if its space-age shenanigans are broadly identical to the beats of a book William Golding wrote about a group of preadolescent boys who crash on a deserted island during World War II, that’s more of a feature than it is a bug.

Capernaum is a movie that wants its audience to empathize with its protagonist so intensely that you agree he should never have been born. It’s a fascinating (if obviously counterintuitive) approach, but one that’s frustrated by the literalness with which Labaki unpacks it.

The first part of the problem is that Donowho’s competent but uncompelling oater doesn’t have enough fresh meat on its bones to fill out its Western cosplay.

Ultimately Holder argues that — despite gentrification — this place is still magical, except we never see any of the magic of which she speaks. We see a fantasy land, but that’s not the same thing as the true magic the city can offer.

The original Planet of the Apes is a hard act to follow, and Beneath the Planet of the Apes isn’t really up to the challenge.

Even Allen himself, appearing in front of the camera for his first role since 2005's "Scoop," looks a little lost in the mess.

The film that exists may fill in some temporary vacuum in a season without capacity-level crowds on Saturday nights and evenings. But those who want something more may have to wait a little longer.

The strength of the pair’s chemistry — with Johnson cast as the smart but starry-eyed Maggie and Ross doing a lighter spin on her own real-life mother’s mythos as the larger-than-life Grace — helps guide shaky character development, though The High Note is less successful at making its stars shine when they interact with others.

A cute, simple, and very colorful fable of a film that will almost exclusively appeal to the youngest of kids.

This super-cheap Netflix Original is so determined to satisfy the algorithm that it would lack any coherent sense of self if not for the fact that it was chiefly designed as a star vehicle for Disney Channel grad Sofia Carson — but there’s something rather stubbornly honest about the heartbeat of desperation that thrums below its Walmart veneer.

If, when printed and sent off for posterity, a snapshot like “Coma” offers a small degree of archival value — while answering the question Bonello poses at the start — it might also arrive as a postcard from a time all-too-thankfully gone by.

At times Midnight's Children balances off its earnestness with a sweeping view of history and tangible human drama, but the allegorical qualities of Rushdie's novel fail to translate as anything but a shrill, on-the-nose instance of thematic overreaching.

For every moment of sick visceral genius (e.g. whenever Hernandez or Evoli are left to their own devices), there’s another of clumsy metaphor (e.g. the limp punchline of the movie’s final minutes).

A handsomely furnished holiday movie that should have devoted more attention to its many ornaments and less to the tinsel at the top, this Murder on the Orient Express loses steam as soon as it leaves the station.

Reworked from Yeon’s comic of the same name (co-written by Choi Gyu-seok), “Revelations” is the kind of layered yet messy adaptation that results from someone trying to find new ways of telling a story they’ve almost thought to death already.

The wit of Robinson’s series still occasionally peeks out in Someone Great, especially when her central trio are interacting, but smushed into a 92-minute running time, little of the best bits can actually breathe.

Life spends its first act building up some big ideas, but eventually unravels into another monster movie in space.

Gyllenhaal's alarmingly effective presence is enough to act circles around the soapy narrative of a fallen athlete's comeback so tightly that it crumbles in the very first act.

Foster’s performance is ultimately the only thing that holds The Survivor together across its three parallel timelines.

Clipped from the start and increasingly uncertain of its purpose as it fumbles toward the Trump we know, this origin story certainly isn’t as painful to watch as the future that it portends has been to endure, but it’s every bit as banal and unnecessary.

In Yann Demange’s bland retelling, the kid’s downward spiral has been reduced to a series of crude, unremarkable encounters and the very thing this true story shouldn’t be: poverty porn. Nevertheless, Demange manages to stitch together a number of involving scenes that track Ricky’s harsh upbringing and the events that precipitated his downfall.

No filmmaker is better equipped to capture the full sweep of this saga (which is why, despite being disappointed twice over, I still can’t help but look forward to “Dune: Messiah”), and — sometimes for better, but usually for worse — no filmmaker is so capable of reflecting how Paul might lose his perspective amid the power and the resources that have been placed at his disposal.

Even at its worst (which is where it often resides), “Mortal Engines” is still a rousing advertisement for the theatrical experience.

While Meri Pyaari Bindu isn’t entirely clichéd, it also never quite finds its footing in terms of tone, narrative, or chemistry between the lead characters, coming off instead as both confused and confusing about where it’s going or what it’s trying to say.

It’s a real credit to Black’s irrepressibly unique comic energy that “A Minecraft Movie” never feels quite as hypocritical as it should.

The director's murky, ill-conceived take on the world's oldest disaster story contains some of the most pristine visuals produced on a mass studio scale in some time. But it's also constantly tethered to a dull, melodramatic series of events out of whack with any traditional interpretation of the material.