The dialogue is clunky and almost universally awkwardly performed, much more so than in the first movie. The tonal mix of horror and silliness feels more jarring than complementary, and the filmmaking, which could accomplish so much just by sticking to genre fundamentals, is often egregiously sedate.

Though its far-reaching ambitions and many stylistic juxtapositions might make it seem like the work of two (or more!) filmmakers, Marty Supreme isn’t just a masterpiece, but feels vividly like a cohesive — and singular — vision.

At its heart, it is Holt and Swindells’ performances that give the story its warmth and soul — qualities essential to any Christmas movie.

Zootopia 2 is just as strong as its predecessor. It manages to expand the world in exciting ways, tell another compelling story with its main characters and recapture the magic of Zootopia.

The film is woeful from top to bottom.

In some ways, the film's hollowness allows it to circle back upon itself and become a pure expression of adrenaline.

Wicked: For Good does stumble at various points. The much-touted new songs by returning songwriter Stephen Schwartz are superfluous, and there's a laughably regrettable decision near the end involving Jeff Goldblum that only avoids disaster by being very brief. But all the same magic that powered the first film is still at work in this one.

Not to put too fine a point on it, but Peas and Carrots is amateur on almost every front, and whatever it has to say about finding one's proper role in society is hidden inside some utterly confounding plot devices.

This uncommon image of survival accentuates the devastation of loss. Fatma is just one victim; what other worlds have we lost with each new death?

We are never not an integral part of this couple's evolving understanding of mortality, art, and partnership.

Nearly everything Ritchson and James do in the name of comedy is forced and untethered from reality. Then again, so is the movie, so at least it's consistent.

Heretical or not, it's a captivating story, even when it seems predicated solely on vibes. It's a shame, then, that the film is not as accessible as Jupe is as an actor. The first two acts move like molasses, brimming with allegory that never quite translates off the page.

In its gorgeous animation and stylization of motion blur, Arco pleads us to return to a time when we dreamt about the future as hidden through fluffy clouds and resplendent rainbows.

Bull Run is so devoid of substance that much of it is taped together with ironic usage of stock photos and archival footage, as if to constantly point at the vapidity of its own enterprise.

Even when removed from the implications of his prolific career, there isn't a ton here that gives us an unbridled look into the man's inner life.

Edgar Wright and Glen Powell are consummate entertainers, and they made this dystopian Stephen King movie as fun and guilt-free as they could.

Ultimately, the film is far too placid and noncommittal to earn its more moving climax. It's hard to really care about these characters when their stream of decisions seems either improperly motivated or else frustratingly selfish.

Even more than its two predecessors, the film relies on being condescension to sell its so-called magic.

Comedically, the film also falters . . . Nor is there much that is distinctive about the animation style.

Younger children will delight in the film's atmospheric wonder, but older children may be bored by the simple yet nonspecific comedy.

To put it in a kinder way, Little Amélie is a delicate testament to the power of solidarity and the ability of children to heal wounds across space and time.

Gulner, who has five other writing credits but directs here for the first time, is a sturdy filmmaker with a solid feel for pace and tone. With The Beldham, she has crafted a clever piece of writing whose ending recontextualizes the whole film in a magnetic flash.

With bi-erasure and transphobia both ballooning, I Wish You All The Best comes with a strong message of hope: that you, too, can be an awkward, flailing teen. That awkwardness is not exclusive to those who fit a traditional mold, and that we all deserve a chance to mess up.

The film feels unexpectedly mournful, bringing to life a time that does not exist anymore.

Palestine 36 is beautifully shot and researched, and peppered with historical touches.

Dan Trachtenberg's third Predator entry is exciting, but also tonally askew in ways that prevent it from hitting its stride.

The revelations of the film, once they come, are admittedly disturbing. But the route to get there is paved with blandness and awkward acting.

With Nuremberg, James Vanderbilt is less interested in showing Hermann Göring (Russell Crowe) as "normal," as he is in accentuating Hitler's right-hand man as a charming charlatan. But this intentionality is miscalculated, and the film, bloated as it is with jarring tonal changes and thickly laid-on sentimentality, tilts so far into humanizing Nazis that it seems, at times, to apologize for the behavior of the high command.