It’s an ugly stray who smells bad and should not be invited into your home, certainly. And yet it is its own kind of living creature, worthy of at least some basic compassion.

Hopefully the deceptively stern ideological stance of The Secret has been dampened enough by Tennant and his cast’s efforts (the great Celia Weston is also a standout as Miranda’s hovering, lightly nagging mother-in-law) that only the better, more wanly encouraging notes of its decidedly capitalist fantasy will linger in people’s minds.

It’s hard to find compliments for Jamie Dornan beyond “very athletic”—but from start to finish, one can’t give Johnson enough credit for making these asinine movies work as well as they do.

Save for a few likable robots, The Electric State is charmless and curiously dull. It’s almost as if all the money and tech in the world are not sufficient replacements for imagination.

There is a whiff of an interesting idea in there, but it is buried in tedious scenes lacking clear direction, endless generic (and poorly lit) shoot-outs, and cringeworthy sequences of allegedly witty banter. This movie is an absolute wreck.

This is not a considered look at someone’s life; it’s a cash-in that just wants to get to the tragic end, hoping that the audience will convince themselves that they felt something along the way.

Not a single bit lands in The Happytime Murders.

Technically speaking, Dolittle is a film made for children. So we should probably mostly view it through that lens. In that regard, the movie is perfectly okay.

Madame Web is a muted affair—not outright terrible but certainly not good, neither inert nor as meme-worthy as hoped. It’s a strange movie whose tortured existence is the most compelling thing about it.

Ziegler has been handed a cursed, impossible task, forced to act so far outside of herself—with seemingly little of the right guidance coming from the grownups in the room—that Music becomes something ghastly. It often feels like a movie made decades ago, one of those smarmily well-intentioned Hollywood exercises in issue-peddling that demands the gratitude of an entire community of people.