Carla Meyer

Despite a plot that goes in and out of consciousness and a 102-minute runtime that approaches bloat, The Dink matches “Barb and Star” in laughs per scene, and eventually, a sense of hopefulness. Don’t wait for it to be rediscovered.

Byrne makes Amanda compelling from the first moments of “Tow,” a moving if also obviously low-budget and occasionally corny underdog story.

It’s such a pure delight to see Erivo and Grande just standing around when they finally duet on “For Good” that we will take that scene over a hundred where their characters dance, preen or ride a broom on their own.

Although it holds some of the same contrivances as the original, Hulu’s new remake also maintains tension and features a masterful performance, this time by Mary Elizabeth Winstead as the mother.

Badly cast and unevenly acted, “Regretting You” features the least healthy mother-daughter relationship since 1975’s “Grey Gardens.”

Is it possible to enjoy a movie musical while actively disliking its songs? It is with “Kiss of the Spider Woman,” which proves the durability of a good story — and story within a story — no matter how many generic John Kander and Fred Ebb songs, weakly performed by Jennifer Lopez, come with it.

Entertainment value and reasonable length still make the film a decent, low-effort option for home viewers — especially those already subscribed to Hulu.

It’s still a relief that the love story here is between a kind woman and a creature far nobler than his onetime owner.

Wolf Man does not fully compel until it becomes ridiculous, employing a wolf-cam perspective that shows what a werewolf sees when he encounters people: glowing-eyed figures who look like AI-hallucinuted Teletubbies.

Hard Truths lacks subplots, or, come to think of it, a plot. Good thing, then, that it features one of the best lead performances of the movie awards season. Pansy might remain a bit of a mystery, but Jean-Baptiste is clearly a revelation.