In many ways, this movie is, then, a mirror of “Nebraska” itself — unexpected, complicated and very American gothic.

Rae and Nanjiani make the ride fun enough with their easy chemistry and silly, wide-eyed panic at everything they’re witnessing. Still, The Lovebirds lacks the singularity of its stars’ other noteworthy roles.

Jones is truly marvelous in the role, showing Ginsburg’s burning desire to change societal unfairness and also, more intimately, coming to terms with her own daughter’s rebelliousness.

Maybe [Borgli's] trolling America but “The Drama” is clearly the worst thing he’s ever done.

Somebody, anybody, should drag Odenkirk away from this nobody franchise.

“Bad Boys” only works when the bickering cops are center stage.

Is it pornographic? Not by today's standards. It is certainly erotic, but no more so than "Basic Instinct" and other big-studio movies. The couplings of The Young Girl and The Chinese Man (their names are never disclosed) are natural and even lyrical, except for one punishing incident. [2 Nov 1992]

The early scenes in this wacky place high in the mountains are the best part of “Ballerina” — they actually contain deft surprises and even a glimmer of humor, which is hardly something we expect in a John Wick film.

A calculatedly combustible concoction, designed, like its chaos-creating character, to cause a stir. To provoke and distort. I wish it was as radical as it thinks it is.

For all its pizazz, everything about this Little Mermaid is just more muted.

The Banker is a pleasant watch.

Stone is always compelling, and with an ace nemesis in Thompson, she’s having a blast.

There are dark marriage comedies and then there’s “The Roses,” an escalating hatefest that, by the time a loaded gun comes out, all the fun has been sucked out. It’s hard tonally to go from microaggressions to the burning of someone’s prized books to attempted murder and stay a comedy.

It’s hard to pinpoint why this next level of Grace’s very bad wedding night, again directed by Matt Bettinelli-Olpin and Tyler Gillett, feels darker and heavier — and hence, less enjoyable — than the original, which managed to maintain a bouncy feel, even with bodies combusting at an absurd rate. But if we have to blame someone, we’re gonna go with the doctor from “The Pitt.”

Novocaine also kind of overstays its welcome, stretching on too long with too many endings. Still, it’s an easy, if not entirely painless, watch.

It doesn’t always work, but has a natural engine and spirit to it that keeps you focused.

Oliver and Company is the most fully realized animated film from the Disney Co. since 101 Dalmatians. It is inspired entertainment in all departments: characters, animation, comedy, plot and voices. [28 Nov 1988]

A Kid Like Jake might not be especially cinematic, but it is profound in its simplicity and truthfulness about what real fights sound like and what real lives look like.

For a movie about a detail obsessive, it’s curiously messy. But — and this might matter more — the film has a reasonably firm sense of just how serious and how knowingly silly a movie about an uber-talented accountant ought to be.

Director Andrew McLaglen knows his way around an adventure movie, and he keeps the action moving and the characters larger than life but fairly plausible. [23 Apr 1980]

Taking each storyline at a time, all accompanied by flashbacks, gives each character some depth, even as the crowded film — at nearly three-hours long — verges on turning into a clown car. That sheer much-ness is in the spirit of King’s massive book. “Chapter Two” is, for better or worse, a horror carnival.

Hackman is perfectly cast as Harry Mackenzie, dismayed by the grief he has caused, yet determined to renew his life. Amy Madigan is brilliant, pouring out her sorrow in venemous outbursts. Ally Sheedy is the best new actress in town, as proven in a profoundly moving pre-wedding scene with Hackman. [11 Nov 1995]

Much of F9 is kind of a slog. There are some not very dynamic car chases, a lot of flashbacks, ho-hum villains and an oddly prominent role for magnets. But when Taj and Roman reach zero gravity, the movie finally takes flight with goofy grandeur.

This is more than just a snack-version “Rocky” story, with the filmmakers exploring the insecurity of factory shift workers, the stress of integrating into white culture, how hard it is for corporations to innovate and the ability to silence the voices in your head that urge you to quit.

Year of the Dragon is a first-rate cops vs. the mob melodrama which restores Michael Cimino's reputation as a gifted filmmaker. [2 Sept 1985]

What’s never quite fleshed out here is why this all should resonate with us — or how these haphazard moments, albeit compelling, weave together in the cohesive way the filmmakers seem to promise.

Child's Play is more than just an odyssey of revenge; it is a chiller that will make you think twice about cuddling those ugly little Cabbage Patch kids or visiting Barbie's townhouse. [21 Nov 1988]

Apparently even death is no respite from earthly puzzles like the love triangle. Sure it’s messy and confusing for those involved but it’s also one of the great storytelling setups for a screwball comedy. And this particular film, imaginative and shrewdly whimsical with an utterly charming cast, delivers on the promise. Lucky us.

The film often feels in many ways as an attempt to correct history, or at least the previous Dunaway-Beatty-led portrayal of a bumbling Hamer. But there are moments of beautiful stillness and nicely-filmed sequences — like a nifty car chase in dust clouds — that make the hunt enjoyable.

A solid film with a few good gags and a fair amount of heart.

As The Mule ambles toward its conclusion, it draws closer to Stone, and maybe to Eastwood’s legacy, too.

If you have a twisted sense of humor and like cheap thrills, you'll probably love Psycho III. [14 Aug 1986]

Without spoiling any secrets, the film progresses in horror-film mode before, in its third act, tying things up in a somewhat clever, unexpected way. By then, though, you may have given up on this group.

Waititi injects enough heart and wit into this enterprise to make a case that artists like him should at least be trying to find creative ways to educate new generations about the horrors of the past.

As the movie grows more abstract, it loses momentum. But an impassioned melodrama and a curiously sincere belief in the transformative power of pop music wrap “Mother Mary” in a gothic garb all its own.

The film is apparently supposed to be a meditation on masculinity, with Eastwood’s one-time rodeo star Mike Milo taming and rebuilding his young rebellious charge into an honorable young man. Instead, it’s a meditation on clumsy and predictable filmmaking.

The mashup of genres may feel a bit tonally rough, but it ultimately works, not least because of its unifying factor: Sweeney, who imbues her no-holds-barred portrayal of Martin with both sweetness and rage, with brio and real vulnerability.

Yes, you’ll likely guffaw at one key moment, but it probably won’t spoil the fun. And when you catch yourself saying, “That wouldn’t happen!“— well, let’s remind ourselves that this is precisely the time for a little escapism.

In portraits bursting with the magic and eccentricities of the same Southern literary tradition that gave us William Faulkner, Harper Lee and Tennesee Williams, Henley has created memorable and rich characters. These are real people, not Hollywood plastics.

The film lacks depth in exploring questions of morality and human nature while depicting Ritter’s lofty goals to save humanity.

Like all sequels, the second suffers from not having the delicious surprise of the first, but the seed to a third film is hinted at in the closing credits, which is more than the first film promised.

Only a few times does the banter between Moana and Maui really remind you of the fun that characterized the original.

A slick, fizzy bit of entertainment that’s occasionally delightful and usually fun, even if the translation to 2024 definitely has its rough spots.

Antoine Fuqua’s Equalizer 3, a taut and textured sequel to Washington’s vigilante series, isn’t one of the actor’s best films. It wouldn’t crack his top 10. But it vividly encapsulates Washington’s formidable on-screen potency.

Productions of Anton Chekhov’s The Seagull almost always tip too far into farce or wade too deeply into tragedy, unable to sustain the play’s elusive balancing act. Michael Mayer’s lush and lively big-screen adaption is unfortunately no exception.

Writer and director Drew Pearce has made an uneven feature film directorial debut. He flaps around for a consistent tone, stunts some potential story lines and kicks out a bunch of cliches. Then, clearly unable to find a rational way to end his film, he adds two massive doses of nonsensical ultra-violence.

The real story of Ivan is more interesting even if it’s probably too dispiriting and shameful for a Disney movie. At the same time there’s some awkwardness in relating such an animal-rights tale with fart jokes and a celebrity voice ensemble.

Monday has an artsy, improvised feel, but also falls prey to some pretty standard rom-com tropes.

Star Trek II may seem too mechanical for some tastes, but there is something nice about seeing a movie that stresses the values of friendship, loyalty and good deeds. [05 June 1984]

Indiana Jones and the Dial of Destiny might not be “Raiders” or “The Last Crusade” but it’s solid, swashbuckling summer fare and a dignified sendoff to one of cinema’s most flawless castings.

All the momentum that “Wicked: For Good” does gather is owed significantly to its stars. To a large degree, these movies have been the Erivo-and-Grande show, a grand spectacle of female friendship that rises above all the petty biases and misjudgments to forge a vision of harmony in opposites. It’s a compelling vision, and Chu, as he did in the triumphant “Defying Gravity” culmination of part one, knows how to stick the landing.

Opening on the heels of raging wildfires, Elemental manages to be a movie about fire and water without even a passing reference to today’s climate realities. Missed opportunities abound.

The vaguest hints of real-world intrigue only cast a pale light on the movie’s mostly lackluster comic chops and uninspired action sequences.

Samuel never stays with any idea for long and “The Book of Clarence” lacks cohesion, as well as consistency, even if the acting is superb, especially from a soulful Stanfield.

The tonal swings, not to mention the gloss that covers the whole enterprise, make “The Gorge” an intriguing but empty genre mash-up and streaming-only exercise.

It’s not plot deviations from King’s novel that hamper Pet Sematary. It’s that, from early on, Kölsch and Widmyer, rely less on the detailed accumulation of atmosphere that King built his tale on, than jump cuts and music cues to build suspense. It puts Pet Sematary on a more familiar genre track.

The director ends on a righteous note but he’s not earned it.

Spinal Tap II is filled with ghosts. It’s like watching a cover band playing the hits but then realizing it’s actually the original band onstage after all.

The story itself is unremarkable, even thin — there are no surprising twists or turns, no big lessons in the script by Nicolaas Zwart — but the relationship at its core is hugely entertaining to watch.

The Wedding Guest might not completely work as a thriller or a satisfying romance, but for anyone missing India or planning to go, it’s a film worth getting lost in.

Despite the admirable ambitions and the prestigious names involved, including stars Keri Russell and Jesse Plemons as well as producer Guillermo Del Toro, it doesn’t really work either as metaphor or engaging, thought-provoking entertainment.

The action scenes are dynamite, layering POV camera work with great, thundering, bottle smashing stunts. It knows it’s silly, but it’s still a good time.

Sudeikis, in particular, shines in this unusually dramatic role and exhibits a depth he touched on in films like “Sleeping with Other People” and “Colossal” but that he really gets to live in here.

BRAINSTORM, despite its tragic history, emerges as a well made, thought provoking, exciting piece of science fiction. [7 Oct 1983]

Teamwork. Friendship. Family. Playing for the game’s sake, not money. All these themes come together in a warm-hearted but highly predictable way.

John Frankenheimer is an old hand at directing this kind of macho confrontation, and he masterfully builds the tension. The bone-chilling terrain (actually Canada) adds immeasurably to the film's effectiveness. [20 Mar 1990]

Hemsworth is re-joined here by Marvel Comic Universe–screenwriter Joe Russo and stunt-specialist-turned-director Sam Hargrave, but their ace-in-the-hole is cinematographer Newton Thomas Sigel. He creates impossibly long single takes of complicated fighting or driving scenes that put the viewer directly into the action like few other thrillers.

With the help of Williams' quirky charm and a rock-solid performance by Kurt Russell, the feat is made believable. Well, most of the time. [3 Feb 1986]

What to make of this glorious, intergalactic mess? There is no better answer than to swipe one of our hero’s catchphrases: “What a classic Thor adventure, Hurrah!”

The solution is a bit pat and anticlimactic, but it is heartening to find a movie that concerns itself with real and present social issues. [21 Oct 1982]

The film somehow manages its own witchcraft in finding the perfect un-sweet spot — it’s too scary for little kids, not scary enough for older ones, not funny or clever enough for their parents, and too redundant for everyone. Poof! Watch the audience disappear.

Despite the compelling source material, “Ordinary Angels” is one of those movies where you can predict developments with certainty.

You’re probably not coming to Finch for lessons, you’re coming to Finch for Hanks. The good news is that he’s not just the reason to show up, he’s the reason to stay around as well.

Parallels to “My Best Friend’s Wedding” come early and often.

Wrath of Man finds Ritchie in a moody midlife mood, his urge to be quirkily unpredictable now contained, even as his camera still swings around, going backward, ahead or soaring above. There is menace, a dull darkness and stillness, as if he’s watched “Heat” too many times.

Central to the effectiveness of the film is the performance of Sally Field as Betty. She is magnificent. No star is more proficient at portraying the American woman beset by woes not of her own making. In her unadorned face are reflected the compassion, the sense of betrayal, the suffering, the maternal love and the gumption to escape her bondage. [07 Jan 1991]

Just when you thought that sophistication had vanished from the silver screen, along comes Legal Eagles to gladden the heart and charge the intellect. [16 July 1986]

For all of the inherent drama, it becomes clear that Burden, the man at the center of a film which bears his name, is really just a cipher, a sponge upon which we put meaning.

There were some lofty ideas behind “Immaculate” that seem underserved (about bodily autonomy and such) and she gets several memorable movie star moments, but I want more for Sweeney than whatever this adds up to.

The word distraction has started to lose all meaning this deep into our home lockdowns, but there is a certain comfort in curling up with a big, silly action pic like Extraction. It reminds you of something you might have spent money on to see in an ice-cold theater on a hot summer day.

Mufasa: The Lion King has one very important thing going for it: an original story.

For a not small segment of the audience for Minions: Rise of Gru, only one thing really needs to be said. The Minions are in it. That’s enough.

Collet-Serra’s genre mechanics, stylized and sober, are efficient. His trains run on time, even if — especially in The Commuter — a rush-hour’s worth of implausibility eventually wrecks the thrill.

It is a sobering and worthwhile film for its exploration of the subject of police brutality and race and how little has really changed in over a century.

Hosoda grafted “Beauty and the Beast” into “Belle,” to sometimes awkward, sometimes illuminating effect. But in “Scarlet,” he struggles to bridge “Hamlet” to today. It’s a big swing, the kind filmmakers as talented as Hosoda should be taking, but it doesn’t pay off.

Migration is vividly animated with warm cartoon tones that would do Daffy proud. But it never quite spreads its wings.

Nonnas, like comfort food, may be a little obvious, a little safe, but that’s the point.

Say what you like about Iron Will - that it's corny and predictable - it's still an irresistibly sweet and upbeat adventure and if it doesn't make your heart pound a little faster, call a cardiologist. [10 Jan 1994]

Ibiza, scripted by Lauryn Kahn and directed by Alex Richanbach (both Funny Or Die veterans and disciples of Ibiza producer Adam McKay and Will Ferrell) has a loose, natural rhythm that easily surpasses its cliche framework.

With some notable exceptions, this is a traditional treatment of an extraordinary life, complete with deathbed scenes that bookend the film and frequent lines, in Jack Thorne’s screenplay, in which Curie single-mindedly speaks of scientific progress less like a person than a grade-school teaching tool.

Somewhow Adams, who also produces here, makes these things seem, if not quite natural, then logical.

The sole MCU release of 2024, “Deadpool & Wolverine” proves it’s not necessarily the source material that’s causing so-called superhero fatigue. It also suggests, in light of Marvel’s move to scale back production following a pandemic and historic Hollywood strikes, that increased attention given to making a movie will ultimately help the final product.

Directed by Anne Fletcher, Hocus Pocus 2 goes down easy — though by the time the entire town breaks out into a dance to “One Way or Another,” you may be ready for the film to get where it’s going. Still, it’s a fun enough ride for a fall night.

Even though Extreme Measures starts to get thin and predictable toward the end, it's a movie that does a great job giving the villains real depth their motives are far more complex and multidimensional than usual.

Johnson and Hart seem to have fun, too, but a fair amount of their charm as a comedic duo is lost without their physical presence — not that the audience of kids will know this or care. Parents might just be wishing they were watching this cast in live-action instead.

It is all very familiar, and yet, in the hands of Ethan Coen and Tricia Cooke (who co-wrote), this 83-minute road trip caper feels like one of the freshest theatrical offerings of the year.

It doesn’t always work, but the writing is sharp, the performers top-notch and the set designs achingly beautiful.

It’s certainly a bit whimsical and stop-and-go considering how much of the story takes place outside of the aquarium, but it mostly stays on the right side of cloying never veering into treacly “The Life of Chuck” territory. And it is all building to something, though it takes a bit of time to get there.