At just 95 minutes, the family-friendly affair doesn't overstay its welcome. But it does have unfulfilled potential.

"Hostiles" director Scott Cooper swings from the wild west to the wintry east, where occult rituals and violence awaits. It's intriguing, until it isn't.

There's ambition in Noah Baumbach's colorful and catastrophic ode to the American family, but not much else.

Park Chan-wook dials down the ferocity for a tender, immensely satisfying heartbreaker.

Travis Stevens's movie starts out narratively straightforward before shifting into another thing entirely, with the force of a snapping bone.

Robert Zemeckis follows up his update of "The Witches" for a remake that's even less memorable.

Andy Samberg and John Mulaney take Disney to task, and a pair of animated chipmunks who were on TV years ago become relevant again.

Benedict Cumberbatch firmly grasps the reins of Campion's drama with a career-best performance blending menace with curiosity.

Director Robert Greene's newest film is a display of selflessness, and a vital new chapter in the dark saga of abuse covered up by the Catholic church.

Tom Hanks, a dog and their robot pal hit the road in a predictable but generous jaunt through post-apocalyptic America.

The French filmmaker's unpredictable style meshes with the idiosyncratic musical flair of Sparks to create something chaotic, self-referential and moving.

Chris Pratt is back in blockbuster mode, but this sci-fi spectacle proves he's ineffective as the virtuous everyman-turned-hero.

“Godzilla vs. Kong” succeeds because it finds compromise between its foes’ enduring pop culture status and the technical calculations (and deep pockets) of modern Hollywood to turn that status into bracing spectacle.

Natasha Kermani's new movie has whiffs of belonging in the busy time-loop subgenre, but it turns those attributes into a commentary that's all its own.

The 2021 revival is a strange and self-defeating movie, one that begins by flexing its pop culture awareness muscles before going on to show a fundamental misunderstanding of what makes Tom and Jerry so enduring and sadistically endearing.

The Russo Brothers’ “Avengers: Endgame” encore finds them unburdened and ultimately undone by the air-tight calculations of that superhero enterprise (and perhaps providing clarity as to who the success of the Infinity Saga’s finale ultimately resides with).

“The Little Things” is a classic old blood/new blood story coursing through clogged narrative arteries, enlisting Denzel Washington as venerable ex-investigator Joe Deacon and a robotic Rami Malek the down-to-business young cop who has been successful up to this point in keeping the ugliness of the occupation out of his cozy home life. Joe hasn’t been as lucky; he’s psychologically worn down by a series of past slayings, the culprit of which remains free. But something else about that history keeps peeling the scab open afresh, and as much as “The Little Things” is about us watching Joe following a killer’s breadcrumb trail, it also fashions us into detectives trying to piece together his past.