
Finding Emily movie review: call waiting
A smart, funny switched-up Cinderella for the social-media era with lots to say about modern dating and gender relations that is caustic, optimistic, and exasperated all at once. Instant comfort movie.

A smart, funny switched-up Cinderella for the social-media era with lots to say about modern dating and gender relations that is caustic, optimistic, and exasperated all at once. Instant comfort movie.

Colorful but flattened and flimsy, which really grates next to how abundantly, uniquely original the first two movies are. Suffers greatly from the lack of their deft whimsy. It’s, well, bearly there.

Replaces the novel’s rage with gentle comedy, biting its tongue and undercutting its protagonist. Still, mundane truths about women’s realities that rarely get public airings are on welcome display.

Unfunny action comedy can’t even pull off sloppy Yuletide kitsch. The anti-chemistry among its likable stars is “bested” only by the ugly CGI. Have some light festive violence — you know, for kids!

This mess isn’t as clever as it thinks it is, and wastes the small charms of the delicious chemistry between Ryan Gosling and Emily Blunt. Feels like they shot a dashed-off first draft of the script.

A vacuous multitentacled exercise in pop-culture marketing, and a crass, confused, charmless showcase for Matthew Vaughn’s goes-to-11 hyperactive “style” of unconvincing CGI and frenetic fight scenes.

There is gentle nonstop chaos in the trippy candy-colored assault. Genuinely good-natured, sweet without being sappy, more strange (in a good way) than kids’ movies usually are, and hard to dislike.

Nicholas Hoult is lovely. Hammy Nicolas Cage is amusing. But everyone in this movie is in a different movie; the tonal mismatches are baffling. Was it the first draft of this script that was greenlit?

A high-fantasy action comedy of tedious slapstick and obvious punchlines you scry the instant a wannabe medieval wag opens their mouth. It’s all borderline incoherent, sketched in cheap-looking CGI.

This Danish black comedy is a meandering exploration of masculinity in the 21st century, and though it’s more miss than hit, it’s charming and bittersweetly heartfelt in its bumbling and bungling.