Keith Phipps

Between Two Ferns: The Movie is too much Between Two Ferns to fit into an episode but not enough movie for a sit-down-in-the-theater experience. Still, it’s companionable in the lowered-stakes world of Netflix films where pleasantness and a handful of highlights seem to matter as much as excellence.

It’s an appreciably less-engaging film in every way, suffering from lurching storytelling, wild vacillations in tone (even within scenes), and a strong cast that never fully gels as a group.

Hobbs & Shaw proves they work well together, stretching out the sparky dynamic of their previous appearances together to feature length.

There’s a lot going on in Tarantino’s latest film, including an exploration of the delicacy of a moment in time and how easily an era can be swept away.

In retelling a story whose political implications could still start a screaming match decades later, it takes a mushy approach seemingly determined to offend no one, or at least offend no one all that much or for very long.

Finley’s debut is an odd, hypnotically compelling film filled with dark laughs and unanswered questions.

Though it doesn’t come close to touching the original, it’s not the years-late embarrassment it might have been.

The filmmaking is so strong and the scope so large it helps obscure the fairly simple moral at the heart of the script by Zvyagintesev and Oleg Negin.

Whatever he’s done in the past, Eastwood here seems most interested in paying tribute to some men who deserve the commendation — nothing more, and nothing less.

Vega’s remarkable as Marina. Her character never opens up to anyone, but Vega skillfully conveys an inner life governed by sadness and a will for self-preservation.