Clown in a Cornfield will never be ranked among the classics of our time, but there are aspects of it that are worthy of admiration.

Hartnett is naturally engaging, and one can see why, with the movie plummeting to earth, the filmmakers might decide to pull the humor ripcord. But here it smells of desperation.

Rust isn’t so much a poor story or even badly told; there’s just too much of it, strung out along a discursive narrative trail that turns out to be unnecessarily repetitious.

The fun and human “Thunderbolts*” is an encouraging sign for the MCU’s future.

While “Viet and Nam” is filled from beginning to end with outstanding visuals and thought-provoking ideas, it is perhaps too lethargic and, at a little over two hours, overlong. Yet there is still much to enjoy.

There’s no way to call Havoc a good movie, but as bad movies go, this is a good one. Depending on your mood, its variety of craziness could be what you’re looking for.

It’s a wail of grief, an expression of love, a testament to the body. Cronenberg puts it all on the line here, and he gets his actors to put it all on the line with him. If you don’t feel its visceral charge, you’re not paying attention.

The convoluted plot will leave viewers with some unanswered questions, should they pull at its threads, but it’s a good bet they’ll likely leave well enough alone after being so entertained.

In some respects, this feels like two movies, and the filmmakers couldn’t decide which story should be the focus.

Drop is the kind of film that separates the real movie lover from the conditional movie lover. It is manipulative, fundamentally ridiculous, obvious, far-fetched, gut-level in its appeal and irresistible. As such, it embodies the true soul of movies.

Art Spiegelman: Disaster Is My Muse, the latest installment of the venerable PBS “American Masters” series, does a thorough job of laying out and appreciating all of the cartoonist’s significant, consistently subversive works, as well as the psychological factors that informed them.

The documentary could have used a little more excitement, but “Coastal” leaves us with a lingering notion that we’ve seen something special.

G20 is standard-issue improbable action that’s lifted by EGOT (Emmy, Grammy, Oscar, Tony) award winner Davis, who makes everything better, and the Mexican-born Riggen’s direction.

The King of Kings gives the Jesus story an animated treatment with some whimsical Dickensian touches. It’s nothing to write scripture about, but it should provide amusing and possibly enlightening Easter entertainment for younger children.

The result is a genre entry that avoids the missteps of so many spy movies — the superhero protagonist, the mission not being compelling, relying too much on action sequences and predictable betrayals. Instead, it invests in its world, its relationships, and its premise.

One to One: John & Yoko combines the best aspects of Boomer nostalgia with generational overindulgence.

It’s still a relief that the love story here is between a kind woman and a creature far nobler than his onetime owner.

The Ballad of Wallis Island isn’t a great film, and it is exceedingly predictable. But like its musician heroes, it plays its notes well, and in a movie landscape often pockmarked with violence and cynicism, it’s a welcome escape.

Once the fleeting novelty wears off, what remains is a movie caught in tonal limbo. It’s too convoluted for kids, too slight for adults and too self-aware to be taken seriously.

The incident depicted in Warfare may have happened nearly two decades ago, but the film seems as fresh as today’s headlines.

This Statham exercise, like most, is mainly about body count. While that seems to be what his faithful fans want, it just gets kind of tedious for the rest of us.

The blinkered greed of the ruling class makes for pretty low-hanging fruit, and “Death of a Unicorn” can come off as smug and exceedingly pleased with itself. Writer/director Alex Scharfman runs out of places for his story to move as the plot fails to thicken.

Unfortunately, the thin story feels terribly stretched and often doesn’t make sense.

When one performance in a movie is exceptional, you can credit the actor. But when everyone is great, it has to have at least something to do with the director. That’s the case with “Bob Trevino Like It,” which has three standout performances.

Cave, who gained notice with much-lauded Hulu feminist horror film “Fresh” (2022), is too busy condescending to her characters to be invested in what happens to them.

Young Hearts is a film that doesn’t traffic in big plot twists or dramatic reveals. It’s a film that treasures fragile thoughts and feelings, rare in a film these days.

In retrospect, Levinson might secretly wonder if the bizarre casting was the right move after all. But at least he got strong performances from his lead actor, and he took a good script by Pileggi (“Goodfellas”) and made a good movie out of it. You can’t ask for much more than that.

Efficiently directed by Marc Webb (the Andrew Garfield “Spider-Man” movies) with an excellent production design by Kave Quinn, “Snow White” is everything you need it to be and nothing more.