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.