The writing as well as the sprightly character animation captures the spirit of these creatures at their absolute best and hilarious worst in a way every dog owner can recognize and relate to. When the film sticks to that, it works.

Malick has found a way to translate how a familiar song has the ability to transport you back to a particular time and conjure a specific set of emotions. Whatever he’s been exploring over the past few years pays off here. Song to Song is far from his strongest film, but it’s his best and most exciting work since The Tree of Life.

This movie is not entirely worthless. Reynolds and Scobell have amusing chemistry together that evokes a lot of ’80s buddy comedies in a fresh way; here is a movie about the tired trope of mismatched partners where the mismatched partners are actually the same person.

Life jolts audiences with relentless ferocity, but it’s not interesting.

For long stretches, Zack Snyder’s Justice League feels more like a rough assembly than a director’s cut. It appears to include every single shred of footage Snyder shot, no matter how superfluous to the story. It will absolutely delight the hardest of hardcore Snyder heads. I’m not sure how more casual viewers will react to a longer and bleaker version of the same movie they already saw and dislike.

Bad Boys was written off for good after Bad Boys II, and yet here we are more than 20 years later, with two solid sequels in four years. Somehow, these guys really have become Bad Boys for life. And perhaps even beyond that.

Conceptually, it’s an ambitious undertaking; but as fascinating and perplexing as it all is, I’m not sure McDowell’s film really achieves its goals.

The film is a bit of a mess; a heartfelt, scattershot, mostly unfunny, intermittently moving polemic about our country and its people.

The group...make a fine crew. But the rest of the movie doesn’t find enough interesting wrinkles on the old formula to merit a reboot.

Some of The Little Things’ little things, like the nuances of Washington’s performance, are outstanding. This film is a reminder that the big things are important, too.

I can (and have) defended each of the later Terminator sequels, but there’s no question Dark Fate is the best of the bunch.

The’re not a lot of momentum to Hotel Transylvania 3; this is a children’s film after all. But the character and location designs are inventive and appealing, and there are several memorable set pieces, including a wordless scuba diving sequence that draws heavy inspiration from classic Warner Bros. cartoons.

It’s honestly a little baffling how so many good choices could produce something so frustrating.

Alita barely considers any of the existential questions about humanity that are typically central to this kind of sci-fi film. It’s just a slick action film. That is one way, at least, it does feel like a Robert Rodriguez movie.

Murphy is really on his game; way more than I expected after 30 years. This is not Eddie Murphy in a Detroit Lions jacket sleepwalking his way through a big Netflix paycheck; it’s Axel Foley improvising his way through one crisis after another. And that’s fun.

It’s both an accomplishment in introspective, transcendent filmmaking, and a puzzle as imbalanced as the knight at its center. We may not quite be able to understand it, but Knight of Cups certainly feels like a work of a great talent who’s still figuring out what he’s trying to say.

The burden of wrapping up a 40-year franchise weighs heavily on Star Wars: The Rise of Skywalker, an overstuffed chase film that barely lets up from its connect-the-dots MacGuffin-heavy plot for even a second or two.

The nicest thing I can say about 2019’s Aladdin is in its best moments it reminded me of a movie I liked a lot as a kid.

The last thing America needs is a historical movie correlating white people problems with those of people of color.

In 2022, films of this ilk are so rare, that I can almost forgive the Deep Water’s faults just for reminding me that these sorts of stories can be told onscreen. Almost.

Beneath the predictable story, Detective Pikachu isn’t about much, and if you need Wikipedia to explain who Mewtwo is, most of the jokes will go right over your head. The whole thing is a bit too childish for adults, and a bit too convoluted for kids. It absolutely deserves an Oscar nomination for Best Visual Effects however, even if the subject matter makes me think it’s unlikely to receive one.

The movie gives us fragments of characters and rich flashbacks, but they’re not supported by a fully-formed narrative. Lee has boldly introduced a new technology, but that technology was a bad fit for this project.

Unfortunately, Red Sparrow director Francis Lawrence is no Josef von Sternberg. Like most of his previous films (Constantine, I Am Legend, the final three Hunger Games), his choices are solid but rarely surprising, and despite a twisty storyline, a great cast, and two physically compatible leads, Red Sparrow never quite gets beyond being a merely okay thriller.

Back in the day, the endless comparisons between Shyamalan and Hitchcock felt like a bit of a trap themselves. With Trap, though, there’s no point trying to escape them.

Every scene is burdened by an uneven cast and a leaden script crammed with millennia of backstory that repeatedly kills the story’s momentum.

The person who makes the new Charlie’s Angels work when it works is Stewart, very much playing against every image of her audiences have built in their minds over the last decade or so.

The biggest problem is that Ghost in the Shell has nothing smart or interesting to say — it just thinks it does.

This is a much better comedy than it is an action movie.