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“Bad Boys for Life”
R, 2:04, action-comedy
A lot goes on in between the life cycle of a two-movie phenomenon from another time and an attempt to tack on a third. Aside from the bit about Martin Lawrence being able to beat Will Smith in a foot race, the movie has very few unintentional laughs. It boasts a handful of cheap intentional ones, lots of automatic gunfire and bleeding, and a nutty pileup of influences, from late-period “Fast & Furious” to “Mission: Impossible” to “21 Jump Street.” It may be a frantic visual blur, but it’s razor-sharp thematically. Its mission, should you choose to accept it, is to make a jaded 2020 audience glad to see these guys again. The movie’s not the point; the boys are. — Michael Phillips
“1917”
R, 1:58, drama
Designed as two long, unbroken shots, Sam Mendes’ film is astonishing — a feat of cinematography, production design and performance moving seamlessly as one piece. But the most incredible thing about “1917” is how often you forget about the trick of it all, absorbed in character and story rather than any “gimmick.” Two young lance corporals, Blake (Dean-Charles Chapman) and Schofield (George MacKay), are given the order to deliver a message by morning to a battalion of British soldiers who are walking into a trap. Chapman gives one of the most heartbreaking performances of the year, while MacKay’s physicality, both explosive and intimate, is astounding. — Katie Walsh
“Dolittle”
PG, 1:46, family
This film, like its predecessors, owes inspiration to Hugh Lofting, whose fanciful letters home during World War I formed the genesis of the first Dolittle book, about a doctor who can “talk” to animals. Robert Downey Jr. favors a blase, throw-it-away delivery that can easily lapse into a form of subtle heckling. The problems begin and end with the script, which turns its title character into an eccentric and wearying blur of tics, tacked onto a character who comports himself like a bullying, egocentric A-lister rather than someone who, you know, actually enjoys the company of animals. Comic pros provide the voices of the animals, but the zingers remain low on zing. — Michael Phillips
“Gretel & Hansel”
PG-13, 1:27, horror
In director Osgood Perkins’ gorgeous third horror film, flipping the names in the traditional title is no coincidence, and there’s little question of who is deserving of more prominence. The older sister Gretel (Sophia Lillis) isn’t just given the larger role of the two siblings; instead, this retelling of the fairy tale elevates the concept of female power to one of its primary themes, illuminating the abilities of not only the witch but also a girl on the cusp of womanhood. Those who know the classic by heart will find a few surprises here; unfortunately, its themes are muddled. While the film offers a stunning feast for the eyes, the substance is likely to leave viewers still hungry. — Kimber Myers
“The Gentlemen”
R, 1:53, action
Director Guy Ritchie expands his horizons to England’s upper crust. The lords and ladies are a means to an end for Mickey Pearson (Matthew McConaughey), a Rhodes scholar-turned-weed dealer who has worked out a deal with the landed gentry. Now Mickey wants to get out of the game, and he’s trying to sell his organization to the highest bidder. Will it be the fey Jewish billionaire Matthew Berger (Jeremy Strong) or the aggressive young Chinese upstart Dry Eye (Henry Golding)? It can be easy to be swept away by all the beautiful people, classic rock needle drops, wild costumes and regional accents. But kick the tires and you’ll start to realize the story’s a lemon. — Katie Walsh