Frank Scheck

As Finley, Hopkins displays his usual magnetism, even taking the opportunity to play one of his own musical compositions on piano.

Definitely hewing to the “If it ain’t broke, don’t fix it” philosophy regarding big-screen versions of long-running television shows, The Bob’s Burger Movie should well satisfy devotees.

This hilariously meta reboot — excuse me, comeback — is everything the recent Space Jam sequel desperately attempted but failed to be. Premiering exclusively on Disney+, it’s the funniest movie of the year so far, either animated or live-action.

While it has a few genuine scares (cat lovers will want to avert their eyes for one horrific scene), it never achieves the deliriously freaky heights one expects from a film version of one of King’s cheesier novels.

By the time the film ends and the fates of the various figures revealed, you’re struck not only by the compelling narrative but also by the complex humanity of everyone involved.

For much of the way, The Bad Guys is antic fun, aided immeasurably by the terrific vocal performances.

The Tale of King Crab strains mightily for a poetic quality that it never quite achieves.

At a lean, mean 90 minutes or so, Ambulance might have been a guilty pleasure. Instead, it’s the sort of cinematic thrill ride so overstuffed that you can’t wait for it to be over.

Writer-director Shin’s labored attempts to use genre tropes to explore the complexities of domineering mother-daughter relationships never fully develops.

Director Power orchestrates the thriller plot mechanics with reasonable skill, and the film’s concise 90-minute running time ensures that the pace never bogs down.

Slasher film fans should embrace this Texas Chainsaw Massacre, which pays loving homage to the original via a variety of Easter Eggs and doesn’t at all stint on the gore. Seriously, there’s so much blood splattered on the screen that you’ll have an urge to wear a poncho if you sit too close.

As for the trio of animals who play Lulu, suffice it to say that if the film is a hit, kennels won’t be able to breed Belgian Malinoises fast enough. Forget the near-naked stripper gyrations in Magic Mike; when Tatum wraps his arm around Lulu as they sit and watch the sunset together, it’s the sexiest he’s ever been onscreen.

The film features plenty of photogenic real-life locations and some genuinely exciting action sequences.

Lacking a high concept or memorable central character, the film is a by-the-numbers actioner that coasts on its star’s soulful gravitas and low-key charisma.

Featuring many of the same grandiose elements as those predecessors, Moonfall looks and sounds like a would-be cinematic blockbuster but comes up painfully short in its ham-fisted execution.

Jackass Forever is being released only in theaters, providing the opportunity for its fans who find constant hilarity in its sophomoric antics to share their pleasure with like-minded brethren. The rest of us can only shake our heads and wonder about the future of civilization.

A film that doesn’t quite know whether it wants to educate its audience or give it a thrill ride. It proves more interesting for the former elements than the latter, but it nonetheless delivers plenty of compelling moments along the way.

Those willing to embrace this entry’s greater thematic and stylistic ambitions will find much to savor, including the stirring lead performance by Ralph Fiennes. The actor not only manages to give a fully committed dramatic portrayal that doesn’t give a hint of the material’s underlying silliness, but also demonstrates that he could have been a terrific James Bond if given the chance.

Kristina Lindstrom and Kristian Petri’s fascinating, if diffuse, documentary fills in that considerable blank in his public profile while making clear the lingering emotional impact of Andrésen’s brush with fame.

With a lesser actor, East of the Mountains could have come across as tedious or maudlin, or both. Instead, Skerritt delivers a performance of such understated eloquence and dignity that it emerges as a quiet gem.

Lewin and co-screenwriter Allen Palmer don’t exactly raise the dramatic stakes very high. The formulaic storyline fails to sustain interest, not helped by the sluggish pacing and predictable gags and characterizations.

There’s plenty of imagination on display in The Blazing World, but it’s buried amidst the narrative and stylistic self-indulgence that assumes we’ll be interested in going on this very strange and ultimately enervating journey.

That the film proves engrossing throughout is due largely to Michael Dorman (For All Mankind), in the central role of Jesse.

South of Heaven is the type of film that’s good enough to make you wish it were better, its problematic whole being less than the sum of its admirable parts.

The film is a remarkably insightful and powerful portrait of the human condition.

Consistently engrossing as well as informative, the film delivers a richly humanistic portrait of a complex, indefatigable figure who introduced multiple awestruck generations to the wonders beneath the sea.

The film might have been outrageously bizarre fun if it displayed any humor or ironic self-consciousness, but everything is played so straight that viewers will find themselves laughing not with the film but at it. The characterizations are paper-thin, the dialogue is perfunctory, and the performances are, to put it charitably, adequate at best.

Featuring past and recent interviews with many of the key figures and generous doses of archival photographs and vintage performance footage, Fire Music should be on any serious music lover’s must-see list.