A Tourist’s Guide to Love is as harmless as its blandly forgettable title would suggest. It’s not quite a Movie to Fold Laundry To, because the scenery is quite lovely, so you’ll actually want to pay attention. But it is a pleasant escape if you’re seeking lazy Saturday afternoon viewing.

Weirdly sluggish and dull.

The actors bring a great deal of humanity to keep a wobbly script from going too far off balance.

A by-the-numbers sequel that mostly ignores the stuff that made its predecessor stand out in exchange for formulaic would-be thrills.

It’s passable for an easy watch and some uncomfortable chuckles but is bearable only on behalf of Hunter’s loyal antagonism while falling short just about everywhere else.

As much as Costner tries to play an even hand, attempting to give the Indigenous and settler perspective equal attention, it doesn’t wholly work.

The story is simple — too simple, in fact — and some of its more intriguing elements could use further developing, but the presence of Huppert makes Souvenir well worth a look.

Rio 2 has exhausted its limited amount of charm. Most regrettably, Rita Moreno appears in her first movie in eight years as Jewel’s overbearing Aunt Mimi but is barely allowed to make an impression.

Once Haunter's story snaps into focus, and its creators pull you towards its inevitable conclusion, the film's flaws become that much more apparent.

It’s a movie with effective scenes and character choices, they’re just not linked together in any way that makes them entertaining or emotionally resonant as a whole.

A frustratingly inert film in every way, The Beanie Bubble has no POV and nothing to say.

This American version of Park Chan-Wook's Korean thriller is Lee's most exciting movie since "Inside Man" — not a masterpiece by any stretch, but a lively commercial genre picture with a hypnotic, obsessive quality, and an utter indifference to being liked, much less approved of.

The one humanizing slice of Cake that is tolerable is Claire’s relationship with her Mexican housekeeper, Silvana (the terrific Adrianna Barraza, who was Oscar-nominated for 2006’s “Babel”).

This Apple TV heist flick is underwritten, dreary, tedious, inert, and without any stakes. I almost hesitate to write too much about it because this soulless dreck feels so unworthy of adding blemishes to the white page.

As an action movie and as a historical document, it is a bombastic and wholly inauthentic mess that displays precious little interest in the men whose actions and sacrifices it purports to honor.

An unabashedly adult drama and a steadfastly old-fashioned one.

Human error—or uncertainty—is the biggest source of tension in this movie, and it goes a long way towards making this sequel (a little) more than the sum of its flashy parts. You may not need another Escape Room, but this new one is good enough to leave you wanting more.

The anecdotal, multi-narrative approach is useful in personalizing the phenomenon, but the movie still brought me up short. The approach also has liabilities. I wanted more context, more history.

For the most part, Buffalo Boys is a decent folk tale, despite Lee and Wiluan's periodic application of "Game of Thrones"-style sensationalism.

The film itself falls short on two crucial levels: it’s neither sufficiently profound nor intoxicating enough to justify or transcend its self-seriousness. As good-looking as the movie and its stars are, Ardor, whose title refers to a literal state of burning, never manages to catch fire.

Given that she’s one of the greatest actresses of her time, Mirren naturally finds ways to reveal glimmers of humanity in her portrayal of former Israeli Prime Minister Golda Meir. But the artifice of her physical transformation too often smothers her, resulting in a stoicism that makes her an elusive figure.

A movie that lacks the energy, wit and heart of its predecessor and is the kind of project that probably never should have happened.

Lady and the Tramp scratches an itch for dog lovers and may satisfy the young viewer’s curiosity when digging through the family’s new Disney+ subscription. However, so much of the movie is just fine when not feeling rushed or stilted, but doesn’t offer new surprises to stand on its own.

Shane Black’s The Predator is a fun, brutal, fighting machine that wastes no time getting down to business — not unlike its title character.

The film is high-strung, nervous and slightly chilly in the New York scenes, but once the action shifts to the beaches of Venice, it slows down considerably, and fittingly.

Maggie Q and Michael Keaton have such snappy, sexy chemistry with each other in The Protégé, it’ll make you wish their connection were in the service of a better movie.

If you squint you can nearly see the kind of movie Gutto might be aiming for.

It's less effective in the run-with-a-gun scenes, as is the acting and the writing, which all fall off sharply in the final third. The issues of individual, cultural, and national loyalty—and when and how to respond to aggressive actions by other nations—are relegated to the background of some weak chase scenes and plot twists.