Sara Stewart

Second films in trilogies are often the toughest to pull off. Maybe Green’s final chapter, Halloween Ends, will redeem what he’s done here, which ultimately feels like very little progress at all.

Some of the acting feels cardboard; the plot points are never shocking. Eastwood’s love interest is about four decades his junior. And yet, the director casts a Zen cowboy spell that makes it all sort of irresistible.

Prisoners of the Ghostland is equal parts visual delight and narrative head-scratcher. Most of all, it’s a hefty dose of Nicolas Cage set to full-tilt gonzo.

Washington and Zendaya, freed from lockdown, dig into the dialogue with zest, and they’ve got a palpable chemistry even in the midst of some horribly hurtful exchanges.

With one slight wobble toward the conclusion, Ashe’s screenplay is terrific at letting its characters speak and act honestly: His dialogue is heartfelt and realistic. “Sylvie’s” is a love letter to the delights of a well-told love story.

Tonally, Happiest Season is a bit uneven; it can move from broad hijinks to high emotion a little too quickly. But it also delivers wonderfully heartfelt moments.

This is a Disney adaptation, beautiful but frequently treacly.

Being a lesbian period piece, the film’s earned inevitable comparisons to last year’s “Portrait of a Lady on Fire.” Sure, it’s similar, minus the chemistry, humor and joy. There are definitely corsets in both.

I’d have been curious to see more about Reddy’s interactions with the women’s movement, but the film mostly has room for this one woman. Thanks to Cobham-Hervey’s performance, it’s an engaging, if fairly familiar, story.

If you’re into seeing Johnny Depp and Robert Pattinson play truly despicable government officials, have I got a movie for you!