Odie Henderson

Leviticus is the most haunting love story to hit theaters in a long while. It’s also an effective horror movie, which makes writer-director Adrian Chiarella’s successful balancing act all the more impressive.

Kiyoko keeps a light touch, opting to let the characters’ actions speak for themselves. There’s no preaching here, and I was surprised at how well Coley was written. She’s willing and able to stand up for herself, but she is still a vulnerable teen, full of hormones and emotions, and able to be deeply hurt by the callousness of others.

None of this is remotely involving, because we don’t give a damn about Robin Hood or his moments of clarity.

Co-director and co-writer (both with McKenna Harris) Andrew Stanton is no stranger to this franchise — he co-wrote the first two films. That familiarity allows Toy Story 5 to make several very funny in-jokes about the logic of its universe, as well as use callbacks to emotional moments from prior installments. Jessie discovers a truth about herself that actually made me tear up.

I think Disclosure Day will be divisive as hell. I loved it, because this thrilling film is all about its questions, not its answers. That is the mark of a true elder statesman’s wisdom.

My lack of good taste is why I’m disappointed in “STOP! THAT! TRAIN!” The gags don’t fly fast enough to distract from the dead spots, and unlike more successful spoofs, there aren’t enough jokes bombarding the screen to help with the hit/miss ratio. However, the actors are all very good, and there are two hilarious musical numbers that STOP! THE! SHOW!

Though it’s not as captivating as Carney’s other films, and has an ending that’s too abrupt to fully satisfy, “Power Ballad” is still an entertaining mix of singing and plot. The filmmaker hasn’t yet lost his touch.

Unfortunately, the biggest product this movie is selling is the outdated notion that fathers are so incompetent that they don’t know where their own kids go to school, or how to make toast, or how to do the laundry.

Tuner hums by on its lively performances and flashy visuals until we get to the last act, which is so awful that it curdled every issue I had been able to ignore or forgive.

The majority of “Pressure” is people doing their jobs and slinging the appropriate lingo. Yet the film is driven by a complex performance by Scott, who plays real-life Scottish meteorologist Group Captain James Stagg.