Old is as wrinkled and decrepit as the title makes it sound.

Although A New Legacy runs at least a half hour too long and generates zero tension with the central “basketball” game, it’s not without its share of small pleasures.

Those who are familiar with Bourdain from No Reservations or Parts Unknown will appreciate the opportunity to peer through the different facets of Neville’s prism. Those who don’t know Bourdain from Emeril Lagasse may not find Roadrunner as compelling but are likely to enjoy the warts-and-all approach employed by Neville in examining Bourdain’s life.

This isn’t a “big picture” movie in that doesn’t seek to answer questions that are beyond its limited scope but, within the parameters established by Kennedy and his writers, it leaves few stones unturned.

Black Widow represents the MCU looking back when it should be moving forward. Everything about the movie seems small, even the big action set-pieces. No doubt fans – and when discussing Marvel, there are a huge number of those – will be delighted to see the mega-franchise returning to the big screen but it would be a fallacy to consider this anything but a low-tier entry.

No Sudden Move represents [Soderbergh's] best post-“retirement” effort and this is a real treasure for those with an affinity for ensemble crime movies.

With Mexican-born director Everardo Gout at the helm (DeMonaco having stepped away from directorial duties following Election Year), the Forever Purge is adept at providing the violence and gore fans expect from an exploitation flick. And, despite its pretense of offering political commentary, that’s really all this movie is.

Although the film’s sci-fi elements are flimsy at best, it boasts some strong action sequences. The special effects sometimes feel a little too video-game-y but, for the most part, they get the job done.

The Ice Road may be the worst direct-to-Netflix movie to feature a major star. It may also offer the worst entry into Liam Neeson’s catalog of strong, resilient action heroes.

Are you weary of the high-octane, CGI-heavy action offered by the Fast and Furious series? If so, then it would be hard to find any reason to recommend the film.

The message is laudable and Luca’s heart is in the right place but its sledgehammer tactics make parts of the movie feel more like a homily than summer entertainment.

Perhaps the biggest (and most noticeable) fall-off from the first film is the lack of chemistry between Reynolds and Jackson. The two never connect. Rarely have I seen the volcanic Jackson look so disinterested; this is the closest he’s ever come to phoning it in.

Despite some sluggish narrative passages and tonal inconsistencies, this represents one of the most exuberant and energetic productions to arrive in the post-pandemic era and its mixture of feel-good elements and real-world concerns is a welcome change from horror movies and action mayhem.

The promise of an intriguing premise results in expectations that the film, which rarely diverges from the familiar feel of a post-apocalyptic road movie, is unable to capture.

It’s an adequate horror movie with the requisite atmospherics and jump-scares, and it provides Conjuring fans with their fix. However, as the latest chapter of what is now a trilogy, it’s a disappointment.

This is a perfect example of complete and utter mediocrity.

Devotees of either the classic animated Disney cartoon or the remake featuring real, live actors may find a few reasons to delight in Cruella. If one puts aside the film’s antecedents, however, what’s left is an unremarkable (although certainly not awful) family film (with a PG-13 rating) that lacks a compelling reason to exist.

It’s as worthy an extension of the first film as one can imagine and its existence does nothing to diminish A Quiet Place. Considering what has happened to too many movies gifted with unnecessary follow-ups, that’s an accomplishment in its own right.

Final Account may ultimately be more important for the voices it immortalizes than for its worth as a conventional documentary.

For zombie movie-fans, Army of the Dead provides a good blend of the fast and the familiar, all blended together into a concoction that hits the sweet spot. Snyder takes some chances, doesn’t skimp on the gore, and offers a shock or two. Perhaps that’s the best a zombie movie can hope to accomplish in 2021.

Although Tracy Letts’ adaptation is generally faithful to the source material, this is an example of something that can work well on the written page but loses a lot when condensed and brought to the screen.

Although Spiral pretends to mine the trope of one good cop investigating department corruption, that’s really just an excuse to present long, lovingly-filmed instances of sadism and torture.

This isn’t Sheridan at his best and, although it may provide Jolie with some exposure outside of voice work and Disney properties, it’s not going to resurrect her career as an action star or a serious actress.

No matter how one views it, however, it’s worth seeing for the story it tells, the tension it generates, and the glimpse of potential it offers for future productions employing this technique.

If not for the contrived resolution, this might have been one of the better little thrillers to emerge from the pandemic. Instead, it feels a little disappointing, if only for the unlikely “twist” applied during the closing moments.

The concept of conflating a heist film with a revenge thriller would seem to have a lot of promise. The problem with Wrath of Man is that, although both aspects are apparent, neither is well-crafted.

At best, Without Remorse is a serviceable action thriller but there are times, as in the rushed and unsatisfying final 20 minutes, when such a description is overly generous.

Despite its share of missteps (the most egregious of which unfortunately occurs late in the proceedings), Limbo is just weird and wonderful enough to earn a recommendation. What starts out as an exercise in absurdist and surreal comedy turns into a serious examination of the artificial boundaries that have been drawn to divide humanity in the name of nationalism.