Reviews

People who love movies about love should hate this.

Maintains its predecessors’ recognition of individual innovation and group achievement while finding new ways to be erotic.

Essentially “Lobster Stuffed with Tacos: The Movie.”

Bests the recent lame “Scream” efforts while keeping you on your toes enough and laughing here and there.

Excels at tugging one strand of a rug and yanking the entire thing out from under two people who thought they could handle anything.

Hewson is so terrific that she holds the movie together until delivering the sort of great song that can make a weak album or a so-so movie feel worthwhile.

The performers are no match for the premise.

Tiresome in all the ways it should kick ass.

A person able to like a movie like this won’t especially mind the flaws, as they’ll be too busy swooning for a love story that taps into the essence of partnership.

Consider the lousy animation and awkward performances and highly questionable narrative (woman abandons ambitions for man, learns he’s plenty interested in her even without a voice, gets her voice back but still has no personality) and ask what, to the tune of “Under the Sea,” the hell is this?

For a story that half-heartedly attempts to advocate for the courage to take risks, “Your Place or Mine” is so incredibly safe and underwhelming by design.

Mostly just undemanding, amusing stupidity, which used to be taken as a mild compliment back when comedy was actually a genre of movie that got made.

Silly but too serious, kinda exciting and pretty familiar.

Wherever the line exists between breathless entertainment and strained contrivance, “Missing” spends a decent amount of time on both sides.

Doesn’t exactly work up a sweat in the ideas department.

Spins the head but ultimately doesn’t stimulate it.

Generates enormous tension from the gradual emergence of truth and the complicated question of what to do with it.

Comfortably cartoonish, funnier than expected and even kinda cute.

Drives into every plot hole and then unites them into a canyon.

Where many horror-adjacent movies can struggle with evoking much of anything in the viewer, “Clock” continually succeeds at creating a feeling of destabilization.