While the movie will play as well at home as in a theater, it offers the kind of heart-warming, thoughtful, and occasionally amusing story that’s badly needed in troubled times.

Belly-flopping into the superhero movie pool, Thunder Force illustrates what happens when filmmakers take a moderately interesting premise and surround it with witless writing, cringe-inducing acting, stagnant action, humor-deprived comedy, and feckless drama.

Although it might seem odd to call a disaster film “low-key,” the label applies in this case. That shouldn’t be interpreted as a criticism. There are times when a less-is-more approach results in gripping entertainment and The Tunnel is one such example.

As a cavalcade of highlight clips, it’s hard to imagine something more attention-catching. But as a movie… What works as a sizzle reel totaling three minutes shows its inherent shallowness when expanded to nearly two hours.

The movie contains the same dry humor that infused the John Wick films. Although the action is in earnest and generates a fair degree of tension during the most intense sequences, the film’s breezy tone is a tonic for those who don’t like to feel wrung-out after violent, edge-of-the-seat confrontations.

The bottom line: If you know what the Anti-Life Equation is, this movie was made for you and you might enjoy it. If that sounds like comic book gobbledygook to you, it’s safe to say you won’t be missing anything by not giving up four hours of your life to sit through this.

Dominic Cooke’s unadorned style and pacing work for the material and the result is a spy story worth telling and experiencing.

The film isn’t funny enough to warrant a recommendation and, although it doesn’t desecrate the less-than-sacred image of the earlier film, it proves itself to be superfluous. However, Coming 2 America will disappoint only those who believed Murphy could do something amazing or hilarious with this dubious property.

Boogie is at times unpolished but it offers a compelling and sympathetic portrayal of the title character and avoids excessive melodrama or a too-facile ending.

The problem with The Affair is that once the World War II segments have ended, the movie loses its momentum and ability to balance both sides of the romance.

Raya and the Last Dragon should entertain children but adults may fidget from time-to-time and the overall impression is of something that, like many middling Disney titles, will quickly be forgotten.

It’s not enough merely to tell stories about different aspects of how drugs impact society – the connections have to be stronger and the narratives have to go deeper that what Jarecki has provided here. Crisis is well-meaning but ultimately unsatisfying.

There are times when the Russos almost get us there but they can’t quite make it. As a result, Cherry comes across as ambitious but not entirely successful. The directors deserve credit for weaving together so many contemporary issues into a single, digestible story but there’s too much material here to do consistently well in a 2 ½-hour movie.

The Father is an excellent movie but it’s not a lot of fun to watch, especially for those with first-hand experience in this area.

Land is both a tribute to the triumph of the human spirit and an examination of the difficulties of setting aside modern conveniences for primitive survival. It also represents an announcement by Wright that her first feature foray behind the camera is unlikely to be her last.

Romantic comedies can be like road trip movies in that the journey is often more enjoyable than the inevitable destination. It helps the fantasy when the actors relate to each other in a pleasant, believable fashion. In this case, Kyle Allen and Kathryn Newton interact with sufficient amity to hold our interest, although Newton shines more brightly than Allen.

Although King’s film may not accomplish everything it sets out to do, it represents an important perspective of a time period whose essential injustices have gained renewed attention some 50 years later.

The writer/director tries hard to make Minari what it is – a collage of remembrances seen through the eyes of a child then filtered through the perceptions of the fortysomething man he became. It’s a rewarding but not overpowering experience.

With its blend of existential science fiction and character-based romance, it would seem to be as close to a can’t-miss premise as one can imagine yet, despite that, it somehow does miss – and by a wide margin.

Produced during the pandemic and available on Netflix, the movie is well worth a look both as an exploration of love’s bitter aftermath and as an example of how art can bloom even in the most challenging circumstances.

The Dissident is a solid recap of Jamal Khashoggi’s demise, but it left me wanting more than Fogel is able to provide, even though he hints at an issue of vastly greater importance than the death of one dissident.

As a character study, The Little Things works. As a thriller, it’s a mixed bag and individual preferences will determine whether to classify the resolution as exhilarating or annoying.

The Dig feels like a condensed version of a story that, given more time to breathe, might have been fascinating and emotionally effective.

Although not a word of what Powers wrote is based on reality (at least insofar as the dialogue is concerned – and this movie is all about the dialogue), it’s nevertheless a fascinating exploration of the kinds of things these four individuals might have discussed.

The movie isn’t for those who crave light, uplifting entertainment. Instead, it’s for those who want a precise, visceral experience from a motion picture.

While Let Them All Talk doesn’t seem substantial enough to capture the attention of those who dole out awards at this time of the year, it’s not without interesting characters, smart dialogue, and some intriguing ideas about love, life, and art. And, as with almost everything directed by Soderbergh, there’s a compulsive watchability to the proceedings.

The material itself is unremarkable and the execution is mediocre. It stands out as often for missteps as for elements that are memorable.

Ma Rainey’s Black Bottom is a small film with big ideas, bigger speeches, and two towering performances.