21 Bridges is well crafted enough to pass the time, but anything more than that is a bridge too far.

The Good Liar is a kind of film one wants to love. Such old-fashioned genre movies, let alone those starring actors in their 70s and 80s, are hard to find these days. But in trying to take a simple crime set-up and stretch it into a more sweeping tale of vengeance and victimhood, The Good Liar has to make some fairly preposterous moves to get there, and it doesn’t do a very good job of cloaking them.

Hanks is such an obvious choice to play someone as beloved as Fred Rogers that his performance is something that could be in danger of being taken for granted or overlooked. He just makes it all look so easy — the almost uncomfortably slow way that he speaks. But it’s a testament to Hanks that you can’t “see” the work. But much like Fred Rogers, you don’t have to understand it to be moved.

It just doesn’t have the exciting, lightning-in-a-bottle feel that the wonderful original had. Perhaps that was too much to ask.

This infectious and engrossing story of the 1966 showdown on a French racetrack between car giants Ford and Ferrari is a high-octane ride that will make you instinctively stomp on a ghostly gas pedal from your movie seat.

The issues it addresses are, to say the least, crucial ones, and even though it trusts its audience to trudge through some dense material, the audience should repay that trust. Here’s hoping it will.

What is most surprising about the latest Charlie’s Angels, which was written and directed by Elizabeth Banks, who also plays the part of Bosley, is how little the “go girl” feminism of the 2000 film has evolved in nearly 20 years. Blame society or a lack of imagination on the part of the filmmakers, but there is nothing all that new about the ideas here.

Honey Boy will break your heart. It hardly matters if you’ve never given a second thought to the circumstances of Shia LaBeouf’s life, his childhood or his rocky early adult years. But this is the kind of universally moving work that can only emerge from something immensely specific and personal.

The first thing director Roland Emmerich should do after his latest movie Midway hits theaters is apologize. Apologize to the visual effects crew, the stuntmen, the carpenters, the costumers and artists. He has squandered their considerable visual skill in retelling the crucial World War II battle at Midway by melding some of the best action sequences in years with the most banal of words.

Marriage Story is such a perfect blend of writing, unflashy direction, spot on performances and score (by Randy Newman) that you hardly even notice all the individual ingredients making up the whole. Its triumph is that it just feels like life.

Last Christmas is about as buoyant as leftover eggnog. Clarke’s natural charm comes through — she looks ecstatic to be out of Westeros and playing a less upright character — but such a fleabag-screwup role feels better suited to a more comedic performer.

All sequels and no originals make us all dull boys.

The whole film in fact is something of a knowing contradiction: A small epic with a superhero budget, using technology like the oft-discussed de-aging process not for vulgar show or gimmickry but to add real heart and grandeur to a film that is trying to grapple with the scope of a life.

At one point we get an action-flick style montage, which feels odd, as does the often overly obvious, swelling musical score. It’s hard to go too far wrong, though, with a story as compelling as Tubman’s and an actress as vivid as Erivo.

Motherless Brooklyn is done well enough that you wish it had struck out on its own path, rather than crib from Robert Towne and Roman Polanski. It’s hard to forget it, but that’s “Chinatown.”

Despite an A-list roster of talent, including people behind the scenes who theoretically should know how to resurrect this brand and move it forward, Terminator: Dark Fate is just another bad “Terminator” movie in a string of bad “Terminator” movies (although better than “Genisys”).

It’s starting to seem like every franchise film, when in search of a story, throws a battle against the wall and hopes something sticks. Not only has this gotten tiresome, but it also sacrifices what we came here for in the first place: Jolie and Pfeiffer glowering at each other.

This is a movie that demands to be consumed distraction-free. But by the end, you might find yourself feeling as crazy and untethered as the wickies.

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.

while “Junior” does look pretty good for a computer-generated approximation of a 23-year-old Smith, it’s hard not to wish that all the time and money spent on this gimmick might have been put toward making sure the script and story were at least engaging and entertaining. As it stands, Gemini Man is a lot of show, but there’s no life behind the eyes.

This dark, socially conscious film about the intertwining of two families is an intricately plotted, adult thriller. We can go up, for sure, but Bong can also take us deeper down. There’s always an extra floor somewhere in this masterpiece.

It’s a movie best seen less as a historical epic and more as a metaphor for a rising young movie star coming up in a culture he aims to subvert.

Some may find the film too loosely plotted, a series of vignettes more than a single, tight narrative. But they only need to sit back, listen to the beautiful score by Alberto Iglesias, and let Almodovar weave it all together _ from the first meditative shot of Banderas to the satisfying surprise of the ending shot _ as only Almodovar can.

The significant and seemingly random changes, embellishments and omissions make you wonder why they even needed the tether of Nowak in the first place.

There’s nothing terribly interesting about the way it’s told, it’s just a straightforward underdog story with a big beating heart.

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.

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

Zellweger’s voice might not be an exact match of Garland’s, but the soul and spirit that she brings along with her lovely approximation will certainly elicit more than a few goosebumps.