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]

It’s sluggish at times and too withdrawn for such a vibrant tale. But it stays nevertheless in tune with the spirit of Burnett’s book, and by the time it reaches its late crescendo, this “Secret Garden” blooms nevertheless.

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

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.

It lives in the unglamorous and sleepless postpartum haze of breast pumps and swaddles. But like “Poppins,” Tully is a fantasy of parenthood — a homely fairy tale about a haggard mother who’s feeling her younger, former self slip away.

The leads are convincingly athletic, the characters well drawn. Where director-writer Robert Towne stumbles is in his portrayal of the ritual of athletics. [4 Feb 1982]

The pacing is sluggish when it should be quickening, and nothing in how Little turns out will surprise anyone. Yet the trio of Hall, Rae and Martin makes Little a consistently pleasant experience.

What does it say about a nearly two-and-a-half hour drama when the 80-year-old footage from inside Nazi concentration camps that was shown inside the real courtroom is the most compelling and memorable sequence?

For every laugh-out-loud moment in the smartly paced first half, there’s a sigh later as to what might have been.

Despite being near the action, we don’t feel particularly close to it. Still, we get to see the wheels turning, and it’s hard not to get wrapped up in some of the backstage moments.

It’s a film that tells its stunning tale with heart and conviction, yet seems somehow reticent about pointing a truly critical finger at either the brutality of a sport that broke this family, or the man who seemed to give his sons no choice in the matter: family patriarch Fritz Von Erich.

It’s perhaps appropriate that the latest Aquaman movie is about a lost kingdom. In many ways, this mini-franchise is just that, a Jason Momoa kingdom that could just quietly sink below the cinematic waves.

Theater critic as tyrant is a juicy premise; “The Critic” just can’t live up to the promise.

There is not much “edge” here, but Clooney and team prove that sometimes, slow and steady — or should we say, pretty and pleasing — can still win some races.

Director James Watkins and especially his excellent troupe of actors, adult and children alike, do a nice job of building the tension, slowly but surely. Until all bloody hell breaks loose, of course. And then, in its third act, “Speak No Evil” becomes an entertaining but routine horror flick, with predictable results.

Ultimately, Spiderhead just seems a little unsure of what it is or what it’s supposed to be.

"Last Rights” — part of a universe that includes “The Nun” and “Annabelle” franchises — is a decent enough final cinematic prayer for this franchise, combining the personal story of the Warrens and their daughter, Judy, with a new paranormal possession that’s created a freaked-out family.

The 355, directed by Simon Kinberg (“X-Men: Dark Phoenix”) who co-wrote with Theresa Rebeck (“Smash”), is not an instant classic by any means. It is, however, a straightforward and solidly entertaining spy thriller that (mostly) avoids the impulse to pat itself on the back too obviously.

Director-writer Megan Park has crafted a wistful coming-of-age tale using this comedic device for “My Old Ass” and the results are uneven even though she nails the landing.

There are surely more interesting and funnier places “The Idea of You” could have gone. But Hathaway and Galitzine are a good enough match that, for a couple hours, it’s easy to forget.

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

Sissy Spacek and Mel Gibson suffer admirably as the farm couple, but their roles have no real dimension. [15 Jan 1985]

Director William Eubank keeps the action taut and the look of the film is realistically impressive and dark, with grimy, dirty workers donning cool dive suits that make them each look like Transformers. His camera often goes tight on the shocked faces inside the helmets. Stewart, in particular, shines with a combination of steely nerves and harrowing expressions.

Haunted Mansion is by no means a terrible movie, or even an unpleasant watch, but it’s just missing the magic that makes the trip to the theaters (or Disney World) worth it.

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

Director Rob Cohen gets the most out of the buddy relationship between Bowen and Draco. Cohen also provides imaginative battle sequences, especially a pursuit through a forest. But the script, credited to Charles Edward Pogue from a story by Pogue and Patrick Read Johnson, sometimes veers into the obscure. [28 May 1996]

In mixing up the Beanie Baby timeline to play out each storyline simultaneously, The Beanie Bubble needlessly complicates itself. But it also makes a compelling reflection of history repeating itself.

The Exorcist: Believer never manages anything like the deep terror of the original, and the film’s climactic scenes pass by with a lifeless predictability. Been there, exhumed that.