Godzilla vs. Kong, the only creature feature to dare wide release in some time, is a rock ‘em-sock ’em monster-movie revival with all the requisite explosions, inane plot twists and skyscraper smashing to satisfy most lovers of gigantic amphibians. Vive le cinéma!

Within a conventional rom-com package, the ending of which isn’t the slightest of mysteries, tropes are subverted, big questions are asked about marriage and love, and a warm spotlight is shined on Pakistani culture.

While No Hard Feelings finally gives Lawrence (also an executive producer) a platform for some of the slapstick humor she’s so good at, it also feels like she’s been inserted into the framework of a quite male coming-of-age rom-com/fantasy.

All sequels and no originals make us all dull boys.

The Rachel Divide is a fascinating, comprehensive and well-crafted documentary.

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.