The Associated Press

Chiarella’s pro-queer filmmaking extends to his ability to perfectly capture the fumbling ecstasy of new love, the fierce longing of stolen kisses and how scary it is to submit to a new partner. Kudos to Bird and Clausen for capturing that universal feeling.

The Death of Robin Hood drains the blood, and life, out of an old English legend.

It may fall shy of the first three and probably ranks as the fifth best of these movies. But “Toy Story” has a high bar and the quality and thoughtfulness that has long distinguished Pixar is very much present here in the film directed and co-written by Andrew Stanton, a Pixar stalwart who goes all the way back to 1995’s “Toy Story.”

The gags never stop. Not every one of them soars, but enough do that you’ll likely just be giggling for 90 minutes.

Disclosure Day . . . is a classic, big-hearted Spielberg adventure through and through, with ordinary people rebelling against shadowy secret keepers in the name of the truth.

Even as the movie struggles to sustain its opening refrain, Carney’s film is always riffing on ideas of authenticity and aspiration in music.

Can you parody your own previous parody? While we’re at it, why is “Scream” so lazily and heavily leaned on in 2026? Why are there so many sex toys? And how much did Angry Orchard hard cider pay for its product placement?

The movie might have worked better if it had just gone full Saturday morning cartoon with fewer self-deprecating jokes. But that would have required more conviction about what everyone was making in the first place.

Fraser’s Eisenhower is physically imposing — much more than the real man — and stubborn too, though in a louder way. But he’s frankly less interesting than Scott’s multifaceted Stagg, a character and performance that elevates an otherwise efficient, well-made war movie into something more intriguing.

Despite a paper-wall-thin concept, both Ejiofor and Reinsve give “Backrooms” some depth.