Movie reviews of George Wolf

Both Blanchard and Cravalho are irresistible charmers, with scene-stealing honors split between Megan Mullaly as Paige’s Mom and Aasif Mandvi as the track coach. Review

The brand of satire is indeed fascinating and ambitious, it’s just never more than dryly clever. Even at barely 90 minutes, a sense of drag seeps into the film, and though McCabe-Lokos shows definite promise for the future, Stanleyville hits the final bell more of a curiosity than a champion. Review

Would it shock anyone if we eventually get a tell-all book revealing that Cage actually was a CIA operative? Or that he won Employee of Every Month? Nope, and Massive Talent is a fun, funny salute to a guy who’s improved a host of movies by never forgetting who he is. Review

Dual doesn’t shy away from the absurdity of navigating a culture of death and winning Instagram posts. In fact, that’s where it lives, fully committed to finding out who really believes laughter is the best medicine. Review

The true story of Stuart Long is indeed a compelling one, and there are stretches of Father Stu that do him justice. But even with its embellished treatment, the film feels dramatically slight. It’s a sturdy and proficient testament to faith, but short of truly rousing. Review

The third act may bog down just a touch, with a hand that’s tipped perhaps a beat or two early, but none of that keeps the film from sticking its landing. There’s plenty of blame to go around in the often nasty business of global politics, and All the Old Knives makes that history lesson personal. Review

Director Jeff Fowler again shows a good feel for letting the effects department do some flexing, and the mixing of live action with animation is admittedly impressive. But like the first film, the storytelling here is so exaggerated that even Carrey’s cartoonish mugging doesn’t seem that much over the top. Review

This Morbius seems too desperate to sit at the cool Spider-Man table right now, skirting the commitment to a more fully formed, standalone character that would only reap dividends down the road. Review

There is a thoughtful and effective thriller at the heart of The Devil You Know, and it’s often glimpsed through the moments of bloat that hold it back. Review

And if you’re thinking What We Do in the Shadows, this is a slightly different neighborhood. Let the Wrong One In is more working class, unbridled and often scattershot in its delivery. But it does end up delivering on the promise of that title, with just enough zany bite to make the lifeless stretches easier to bury. Review

The film often feels like a slow journey for us as well, but don’t mistake the unhurried pace for aimlessness. Be patient and take the ride. Compartment No. 6 has a warm fuzzy feeling at the last stop. Review

The common challenge for adventure films like this is to make an individual experience speak in universal terms. Watts pushes Infinite Storm past some by-the-numbers moments for a worthy reflection on struggle and healing. Review

Cheaper by the Dozen, yes. And you get what you pay for. Review

The Outfit is a solid directing debut for an acclaimed screenwriter. And while you can’t help feeling that this salute to the brainy introvert may be a personal one for Moore, it’s artful and engaging enough to rope in anyone who loves untangling a well-fitted suit of clues. Review

If it’s an attempt at chilling humor, it falls hard, becoming another anchor weighing down Deep Water just when it starts cruising. Review

While Fear is a film that doesn’t pretend to have the answers to the global issues on its mind, it does seem to have a firm grip on the basic question at the heart of these matters. Review

But Turning Red finds Pixar with a healthy and welcome new approach to its lineup. So wherever it’s found, that’s more than okay. Review

Much like Linda Ronstadt’s first person storytelling made The Sound of My Voice so compelling despite a refusal to discuss her relationships, seeing and hearing Lucille Ball and Desi Arnaz narrate their own lives is what gives the film the intimacy that enables it to soar. Review

It is her commitment that won’t let us turn away from Amy, or completely give up on this film. Review

Is it ridiculous, overwrought and amateurish in spots? Sure, but this one is actually watchable. Review

Holland proves adept at parkour and trading mildly amusing barbs with Wahlberg, leaving director Ruben Fleischer to keep his foot on the gas and let the green screen whizzes go to Funkytown. Review

Give it your time and attention, and the film will reward you with multiple stories in one, inviting you to consider universal themes from intimate new perspectives. Review

Screenwriters Isaac Aptaker and Elizabeth Berger pair with director Jason Orley for a solid game plan, but it’s the irresistible chemistry of Slate and Day that keeps this madcap setup consistently engaging. Review

Death on the Nile proves that a trusty return to glamour and intrigue can still overcome some excess baggage. Review