M3GAN’s sophisticated abilities represent a leap forward in the subgenre of horror movies about possessed toys. She’s almost more interesting than the humans.

Even in darker scenes, when Guillermo del Toro broaches subjects like death and deceit and the horrors of war, the film never loses its spirit of childlike wonder.

“Taste,” Chef Slowik commands the diners, but the movie savors little, throwing out a litany of philosophical enigmas to distract us from its straw man arguments and stereotypes.

Full of celebrity cameos and good-natured jabs at celebrity, “Weird” is all sweet idiocy, like the dulcet tones of a well-tuned accordion.

Despite a bevy of charming character designs and entertaining gags, the film sometimes falls flat in ways that its vibrant animations can’t cover up.

It’s the ensemble to end all ensembles, proof positive of David O. Russell’s enduring stature and, simultaneously, evidence of his lack of restraint.

As Fletch hunts for clues, his springy energy and witless wisecracking never flag, while the world around him comes into focus, revealing a rich tapestry of fools.

Heroic posturing and tricky choreography aside, “The Woman King” is a unique work of historical fiction in its depiction of the historical self-governance of African nations, as opposed to merely their subjugation.

Befitting a protagonist whose life revolves around cartoons and caricatures, the world around Robert is full of idiosyncratic buffoons, whose antics make the drab settings feel colorful and alive.

Much is made of Ben’s aptitude for listening, but the movie spends precious little time in contemplation, instead spinning its wheels in a constant search for the next profound statement.