While writer-director Warren Beatty’s movie about Hughes is crafted of the finest materials, it too remains mostly earthbound, defying gravity only in fits and starts.

Between Two Worlds is highly self-aware, at some points simply playing up the odd dissonance of seeing as glamorous a figure as Juliette Binoche scrubbing toilets, and at other points making more caustic commentary on the impossible task the book and adaptation set out to accomplish.

For every interview there is with a journalist offering more of this, there is one that just meanders with a notorious influencer that should have probably been cut.

The characters, the situations, and the story are whatever they need to be in the moment to launch whatever joke the movie feels like telling at that moment. This is Wain and Showalter working in “Wet Hot American Summer” spoof mode, and if you're a fan of that movie, you may well like this one as well.

The best gag comes from rom-com world’s cloying PG-13-ness.

There’s an underlying cynicism to The Fox that gives it heft.

This is a polished, straightforward account of harrowing events, told with empathy and relative objectivity. If you’re looking for an entrée into one of the most bizarre, complex chapters of human history, look no further.

Harper’s is that rare movie that works much better when the characters are finding solutions and working together rather than falling into conflict and creating problems.

[A] sci-fi head trip ... If the film can be somewhat unsubtle in its thematic questions, it matches that with an equally loud color palette – and you know what, that’s perfectly fine.

As Jahkor resists his father and then begins to make a tentative connection, Sanders and Wright let us feel the weight of generations — and All Day and a Night, which began in a blast of gunfire, ends as a sad but touching lament.

The Sisterhood of Night is too messy to qualify as a great film, especially when it begins introducing, in passing, peripheral characters who survived rape and incest, but it certainly isn’t muddled.

You’ve got to appreciate a movie that doesn’t take itself seriously. And, man, Fast & Furious Presents: Hobbs & Shaw is definitely about as ridiculous as a movie can be, for better or worse.

Pilgrimage travels quite far on the momentum provided by a series of reveals. Each shifts the film’s stakes significantly enough that we look forward to the next divulgence as much as the succeeding battle scene. It ultimately stumbles when it reaches for depth, arriving at a hollow conclusion that mistakes cynicism for profundity.

Gifted finds a collective of competent people making a perfectly competent movie — nothing more, nothing less.

Smallfoot provides more complex food for thought than most mainstream animation, but the overall results are still disappointingly bland.

This true-crime saga of the Gucci family losing control of their own fashion empire could have been a full-blown camp classic were it not so frequently dull and tentative.

A Wikipedia entry fed into what can only be called The Sorkinator, but missing the wit module, Being the Ricardos is cultural-television-marital history flattened into a babbling stream of airless, horribly shot scenes that never come close to the glorious timing of a single comic exchange on “I Love Lucy.”

You have to forgive a lot from Bad Moms.... But the wonderfully unexpected cavalcade of hilarity — including one of the smartest and most unexpected celebrity cameos in recent memory — makes this summer sleeper a satisfying surprise.

As for the writer-director, Ol Parker, he doesn’t come up with any urgent artistic reasons for the existence of its follow-up, Mamma Mia! Here We Go Again, but he does make it surprisingly watchable, and he manages to overcome some mountainous obstacles.

Ellis and editor Richard Mettler craft an agonizing and unforgettable finale; if their sense of pacing had been as sharp throughout, “Anthropoid” might have fulfilled its potential.

In a movie whose setup that almost inevitably leads to rampant sentimentality, Pugh and Garfield are enormously charming actors who are also skilled at undercutting their own charm; they commit to the sentiment without yielding to it, making We Live in Time a truly charming and surprisingly rich film.

While neither Tommy nor the film itself was ever likely to be immortal, the closing frames prove to be a fitting sendoff for him as well as his long, sad saga. For what could very well be the last time, he and Murphy burn bright.

By the end of this captivating if unsettling movie, Foos’s unpunished criminality notwithstanding, you’ll have plenty to chew on about the nature of the relationship between journalist and subject.

It’s Merritt’s devastatingly authentic turn as a kid propelled by good intentions and naïve ambition to scuttle his own life in order to create a better one for his family that makes Demange’s follow-up to the critically-acclaimed “’71” a frequently indelible cinematic experience, charged with unique energy and impact even when its premise is overly familiar.

Though it’s nothing new — one thinks of “The Shining,” “Parents,” and “Serial Mom” — it’s still disreputably fun to watch, like a viral video of a crazy person in public, or eavesdropping on a drunken spat in a restaurant, or that feeling when channel-flipping lands you on a familiar dumb movie right at your favorite moment.