The first-rate cast — right down to that infant, who displays Streep-like instincts for the camera — toils mightily. But sadly, they’re trapped in what becomes a sort of A-list Nicholas Sparks melodrama Down Under.

It’s a pleasant Christmas-season offering; both mild (read: family-friendly) and sweet.

Bullock and Tatum take hold of the material and turn it into an enchanted screwball.

What’s crucial here, as in the original film, is the chemistry between the cast members. And though McKinnon’s the standout, the four women click together like Legos.

Leaning into the sideshow kitsch of a superhero movie about a flying magician in an anthropomorphic cape, Raimi — in a marvelous act of movie prestidigitation — has pulled a cute rabbit from the old Disney hat.

Lohan was, and is, a charming and funny screen presence. And if you think this all has nothing to do with the movie, I’d say you’re wrong. This movie’s existence is predicated on our nostalgia for the original film and our parasocial relationship with Curtis and Lohan, as a duo. These feelings matter.

Eisenstein in Guanajuato is an outrageous comic-erotic extravaganza that has more of a narrative arc than most Greenaway movies.

See How They Run is the Saoirse Ronan show. Start to finish. Top to bottom, Now and forever. Amen.

Wolfs is a great idea for a crime comedy, but it isn’t a particularly great movie.

The performances are first rate, particularly Rains’ work in the lead role.

You find yourself focusing on the details of Alexandra Byrne’s flowing costumes, or on the wince-inducing meticulousness of Robbie’s post-pox makeup, rather than caught up in the story. Except when Ronan’s face catches the light; there, Mary Queen of Scots finds its fire.

Allied runs out of steam before its overwrought ending. It’s as if the film, struggling under the weight of the classic epics it recalls, just gives up.

Zombies. Nazis. Clichés. Insane violence. Overlord delivers a whole lot of much too much.

Motherless Brooklyn is lovely to look at — the cast, in addition to their acting talents, all look great in ’50s styles — and I enjoyed the noir-y jazz of the dialogue. (“Everybody looks like everybody to me,” a bartender tells Lionel, who’s looking for someone in the shadows of a club.) But it’s easily half an hour longer than it needs to be, and it’s full of moments that don’t go anywhere.

The fat suit is in a sense a distraction in that you wonder how Fraser was able to act within it. But the fact that he does so and so effectively makes The Whale a searing, moving experience.

For most of its length, Stillwater goes along as a meticulous examination of its central characters. And then suddenly near the end it jumps the tracks.

The most enjoyable mainstream comedy since "Sister Act." It's slim, it's superficial and it hedges every commercial bet in the book. But for some reason, none of this prevents it from being a whole lotta fun. [1 Oct 1993, p.D16]

Numerous fine performances carry the film, with Oldman's Jackie as the standout. [21 Sep 1990, p.24]

As sweet as honey but without the stickiness, Christopher Robin is a gentle delight — for children, and for former children.

Wonder Woman 1984 feels a bit perfunctory; just another massive superhero movie, with little fresh brought to the mix.

Themes exploring redemption and forgiveness fall flat because it’s impossible to empathize with these characters. Mostly, this is an exercise in style; a slick tribute to righteous trash that promises a lot more fun than it actually delivers.

Thankfully, To Wong Foo . . . has a heart. It leaves us optimistic. Kidron and neophyte script writer Douglas Carter Beane seem to think that regardless of environment and situation, our differences are key to our survival. They celebrate the fundamental need for acceptance and integration. [08 Sep 1995, p.F5]

The basics of Draper’s story hold promise, but the film derails because Jack and Oliver just aren’t charming as social pariahs.

Three Thousand Years of Longing is a cerebral film that barters in riddles. It’s a cautionary fairy tale about wishful thinking. It’s a flawed, but intoxicating kaleidoscope of stories. If only the film's ending were as strong as its beginning and middle.

Beatty directed and wrote the script, but from a man who made the weighty epic “Reds” and the corrosively funny “Bulworth,” Rules Don’t Apply feels curiously weightless and as forgettable as its title.

Rolling Papers is an instructive and fun film that will keep you giggling — high or straight.

Haneke carefully and ingeniously presents the boy's point of view without sympathizing with him. He then does the same with his horrified but protective parents. [18 Nov 1994, p.G35]

Ultimately, Moving On is about friendship, and who better than Grace and Frankie to show us that?