There’s a time and a place for mayhem, and that’s essentially what Bullet Train is: two hours of fights, carnage, and witty repartee. Oh, it’s too long, to be sure – probably at least by 20 minutes. And its puzzle-like structure is too complicated for its own good. But, taken on its own terms, it’s fun and energetic as only this sort of film can be.

At under an hour, it could have been creepy and unsettling enough to work without being weighed down by narrative issues. At over 100 minutes, it feels too long and there’s a law of diminishing returns in effect. Once we recognize the underlying dynamic, the movie becomes less of a story and more of an acting/directorial exercise.

This Blumhouse production marries fish-out-of-water elements with some philosophical musings and offbeat characters that might remind viewers of (Robert) Altman lite. The ending feels a little forced, as if the filmmakers felt that not providing some kind of punch might disappoint viewers, but there are enough little pleasures along the way to more than compensate.

It might be fair to argue that Shephard overreaches with Not Okay, but there’s something bracing and fresh about throwing caution to the wind the way she does. The movie doesn’t have the bland, cookie-cutter feel of so many of the other productions that comment on the evils of the Internet.

It’s an entertaining enough movie and the sound design and visual palette make a strong case for theatrical viewing (over the phone/tablet/TV alternative) but the elliptical narrative may frustrate some viewers and the lack of an epic scope make this a most atypical would-be blockbuster. Still, Peele’s name recognition is strong and the less-is-more style of the trailer has created a level of buzz. Those who see Nope might not get exactly what they’re expecting but they may enjoy it anyway.

The Gray Man is part of an unflattering pattern where creativity plays second fiddle to algorithms.

Whether it’s the screenplay, the direction, or the acting, Art of Love never ascends to the level that would make it more of an experience than a way to pass a couple of hours.

Where the Crawdads Sing is not without flaws but it draws the viewer into its specific time and place and offers an engaging two-hour escape into the life of a memorable individual.

Transforming Persuasion into something generic and pitching it to viewers seduced by the likes of Bridgerton and Mr. Malcolm’s List illustrates not only a lack of imagination but a betrayal of the source material.

Unfortunately, stiff acting, an increasingly hard-to-swallow storyline, and an atrociously bad ending torpedo Eli Horowitz’s Gone in the Night, making it unworthy of even a streamed view. When the movie started, I wanted to like it. 90 minutes later, I just wanted it to end.

The film embraces the value of pursuing one’s dreams while extolling the virtues of haute couture. My guess is that it will appeal strongly to the Downton Abbey faithful.

Although McHale’s theories are interesting to listen to, there’s a smoke-and-mirrors quality to them. One thing is certain, however: You Don’t Nomi is a much better motion picture than the movie it profiles.

Thus far, the 2021-22 roster of Disney/Marvel post-pandemic titles has struggled to advance the series beyond Thanos in a meaningful fashion. Although it’s questionable whether Thor: Love and Thunder changes that, it has a helluva lot of fun trying.

Of the five movies in the Despicable Me/Minions cycle, The Rise of Gru is the second-best, following the debut installment. The series has long since given up finding new avenues to explore (the way the first one and, to a degree, the second one, did), relying instead of regurgitating ideas and comedic bits. It’s almost surprising, therefore, how effectively it works.

In many ways, The Forgiven feels like a CliffsNotes version of a longer, more complex narrative. But, even considering that numerous subplots might benefit from a mini-series approach to the material, the transformation of the central character is handled in a powerful, credible manner.

Genre fans may perceive it as good enough to scratch an itch but no matter how well it eventually incorporates the various Pride & Prejudice tropes, it’s hard to see this as more than obligatory and unnecessary.

Luhrmann’s movie achieves its goals of highlighting Elvis’ music while providing a capable, if imperfect, abstract of his life. For fans of the icon and his music, it hits enough sweet spots to be worthy of a theatrical viewing.

The Black Phone is as solid a horror film as has come out post-pandemic and brings back memories of when “horror” meant more than an assembled sequence of shocks and blood-soaked clichés.

The Man from Toronto is derivative and forgettable; nothing about the venue in which it is seen will change that.

Had there been more to Lightyear than a retread of sci-fi cliches with a beloved character, I would have been less disappointed.

Those who don’t appreciate films built on the simple foundation of two characters (mostly) talking for the entire running length aren’t going to enjoy what Good Luck to You, Leo Grande is selling, even if sex underlies nearly every passage of dialogue. The movie is funny at times and touching at others but it’s never especially erotic (nor is it intended to be).

Brian and Charles is a pleasant diversion, offering a few hearty chuckles along the way to an uplifting ending.

Dominion argues that not even the return of three beloved characters can rescue a franchise that has fallen and can’t get up.

Top Gun: Maverick is one of those rare breeds: a sequel that’s better than the original.

Although parts of Emergency can feel like a bizarre cross-pollination of After Hours (Martin Scorsese’s 1985 chronicle of a nightmare road trip) and Weekend at Bernie’s, there’s more going on here. Despite the comedy, the screenplay poses some serious questions that can’t simply be brushed aside.

The grandeur of Big Sky Country, captured with majesty and elegance by cinematographer Giles Nuttgens’ lenses, provides the backdrop for an intimate story of tragedy and reconnection that is no less riveting than the terrain where it transpires.

In a way, it’s almost worth recommending Men for the first 70 minutes. At that point, a quick exit would preserve the illusion that this is some sort of modern horror classic. For those who stick around, however, the final assessment isn’t likely to be nearly as favorable.

A New Era offers the kind of comfortable, comforting experience that Downton Abbey aficionados have been awaiting since before the term COVID was coined.