The Death of Robin Hood drains the blood, and life, out of an old English legend.

Chiarella’s pro-queer filmmaking extends to his ability to perfectly capture the fumbling ecstasy of new love, the fierce longing of stolen kisses and how scary it is to submit to a new partner. Kudos to Bird and Clausen for capturing that universal feeling.

It may fall shy of the first three and probably ranks as the fifth best of these movies. But “Toy Story” has a high bar and the quality and thoughtfulness that has long distinguished Pixar is very much present here in the film directed and co-written by Andrew Stanton, a Pixar stalwart who goes all the way back to 1995’s “Toy Story.”

The gags never stop. Not every one of them soars, but enough do that you’ll likely just be giggling for 90 minutes.

Disclosure Day . . . is a classic, big-hearted Spielberg adventure through and through, with ordinary people rebelling against shadowy secret keepers in the name of the truth.

Even as the movie struggles to sustain its opening refrain, Carney’s film is always riffing on ideas of authenticity and aspiration in music.

Can you parody your own previous parody? While we’re at it, why is “Scream” so lazily and heavily leaned on in 2026? Why are there so many sex toys? And how much did Angry Orchard hard cider pay for its product placement?

The movie might have worked better if it had just gone full Saturday morning cartoon with fewer self-deprecating jokes. But that would have required more conviction about what everyone was making in the first place.

Fraser’s Eisenhower is physically imposing — much more than the real man — and stubborn too, though in a louder way. But he’s frankly less interesting than Scott’s multifaceted Stagg, a character and performance that elevates an otherwise efficient, well-made war movie into something more intriguing.

Despite a paper-wall-thin concept, both Ejiofor and Reinsve give “Backrooms” some depth.

In a marketplace full of content and franchises, here is a filmmaker with something to say and an interesting way to say it.

It’s been nearly seven years since there was a new “Star Wars” movie released in theaters and there are lots of ways to do it. Star Wars: The Mandalorian and Grogu, a disjointed off-ramp that lacks the scale and ambition of its sisters, fails the task. As the Mandalorians might say, this is not the way.

While no movie can serve as the perfect replica of a transformative live music experience, Billie Eilish — Hit Me Hard and Soft: The Tour (Live in 3D) works an immersive magic.

You may think you know Sterling K. Brown, but trust us, you have never seen this version of Brown — a man utterly dripping with villainy, if villainy were in liquid form, and all the more chilling for the calmness with which he intones the most horrific thoughts.

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.

That a movie called “The Sheep Detectives” tries to impart lessons of morality and mindfulness is, of course, laudable. A wide swath of entertainment aimed at children makes no such attempt. But “The Sheep Detectives” could have used more slapstick and less CGI sincerity.

Hokum has so many of the right ingredients going for it.

I wouldn’t begrudge anyone who just wants to see her and these actors together again. But the movie, well stocked in Prada, could have used a bit more of Streep’s unflappable devil.

Put down Orwell’s book and you’ll shiver, convinced to redouble your efforts to protect civil society, stand for dignity and fight for the rule of law. Walk out of this new animated movie and you’ll likely just want to inhale more M&Ms. And fart.

I Swear — at a perhaps overlong run time of two hours — is full of warmth and even humor, with Davidson occasionally laughing at himself and inviting us to join in.

The nostalgia of “Michael” is for more than Michael Jackson. But blindly believing only in that celebrity, in that fantasy, is repeating a sad history all over again.

The tagline for “Lee Cronin’s The Mummy” is “Some things are meant to stay buried.” That also applies to the misguided “Lee Cronin’s The Mummy,” which should definitely stay deep underground for eternity.

Many of its twists aren’t hard to see coming, and the movie sometimes lacks the scale needed for a sprawling battle. But a mustachioed Odenkirk with a shotgun is, by most metrics, more than enough firepower for any movie.

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.

A movie as frothy and insubstantial as the foam on a nice cappuccino. It’s also about as believable as some of the woefully stereotypical Italian characters here.

This latest film by the great and astonishingly prolific Steven Soderbergh is not out to give the audience what they think they want from him. Instead, it’s a meditation on art, legacy, creativity and the oh-so-touchy subject of who has the right to critique.

By its nature, “Exit 8” is sparse and repetitive. But in the not-especially-decorated annals of video game adaptations, it’s one of the most compelling and clever meldings of the two mediums — cinema and gaming — we’ve seen yet.

Jittery, tense, fast-talking and always on edge, this is a Hamlet, above all, in a rush.