Book Club is very silly and feather-light, but let me say this: Spending time with this quartet is way more fun than reading “Fifty Shades of Grey.”

Those who love books, picturesque English villages and getting lost in actors’ faces should be very happy

Good fun, and all that, but its flawed central performance ultimately makes “Solo” a distinct disappointment.

The picture is a no warts-and-all look at Francis’ papacy, but rather emphasizes his humanity and humility. Those personal qualities and his words are sources of hope In this politically fraught and fevered age.

The original “Deadpool” caught lightning in a bottle. The sequel sparks only intermittently.

The disappointment of Breaking In is the wasted potential — there are a few plot setups that could have been further fleshed out or brought back around (why was her father being investigated by the DA?) and Union isn’t given enough opportunity to truly display her charms. This thriller could have really used some room to breathe.

It’s bland and forgettable, and director Falcone still hasn’t figured out how not to sabotage his supporting cast (why hire the hilarious Chris Parnell if you’re not going to let him be funny?), but it’s a movie a lot like the presence of McCarthy herself — there’s an inner sweetness that shines through.

As playfully time-oriented as its title, Becoming Who I Was makes reincarnation a central part of its story about a journey through more than one life.

The pleasure of this movie is in Cody’s sly barbs (the rich brother-in-law’s wife has a dog named Prosecco, and a kid whose talent-show skill is Pilates) and in Theron’s soulful, lived-in performance.

Where is Kyra? is a small story — there’s much about its main character that we’ll never know — and a terribly sad one. But it’s a remarkable showcase for Pfeiffer, who’ll break your heart in every scene.

It’s filled with moments that click, but it just feels too big.

The sweet-natured rom-com I Feel Pretty has a well-meaning message, but it gets lost in the telling.

There's a certain amount of cognitive dissonance when it comes to the material and the approach that the filmmakers take, and much that doesn't get covered in this short, 80-minute primer.

You get caught up in the way Tucci lets a round lamp fade into a glowing moon, or how Rush’s posture suggests a lifetime of bending over a canvas, or how a face on that canvas slowly emerges, from a forest of lines — and suddenly, time passes, and art happens.

Watch this movie and you might die, of boredom.

Only two things need to be said about Rampage: It’s really terrible, and I enjoyed it immensely.

Most of Alison Chernick’s sweetly reverential new documentary, Itzhak, suggests a contemporary day in the life of a world-famous musician.

Outside In is about connection, and about two remarkable actors telling us a story.

A Quiet Place is brief, taut and often quite terrifying. And it creates in its audience a fascinating relationship with sound.

Much of this is amiable in the moment, but the movie lumbers from set piece to set piece with only the barest of plausible connecting threads. The film’s sense of physical comedy is woeful, relying more on the suggestion of humor than competent blocking or editing.

Pandas leaves its viewer newly educated, filled with hope, and dazzled.

Isle of Dogs is full of delightful touches, but it’s not Anderson’s best. Nice fur, though.

The emphasis here is on the splashy spectacle with those insider-knowledge elements jammed together in a frenetic hodgepodge.

Lesser actors would have drowned in the muck, but these two almost sell it.

Unsane has an uncanny way of reflecting the world through Sawyer’s eyes, sometimes amplified by the medication she’s forced to take. It’s not a pretty place.

Monster-movie fans will certainly get their money’s worth in this one.

As with “Rivers and Tides,” Leaning into the Wind is a work of art in itself; beautifully and meditatively shot (by Riedelsheimer), accompanied by a faintly mysterious score that seems to be telling us secrets.

The blending of the realistic elements such as the planning and preparations for the raid with the more surreal aspects of the picture feels forced and awkward. In real life, the raid was an astonishing success, but the movie is ultimately a failure.