CHARLIE’S ANGELS

THE ADDAMS FAMILY

1/2 PG, 87 minutes. Through today only at Westbrook, Lisbon. This isn’t a new take so much as a deeply faithful rendering of Charles Addams’ cartoons, in style and content. There are some supernatural liberties that can be taken, for sure, in this computer animated format, but the core beliefs are in place. — Katie Walsh, Tribune News Service

PG-13, 118 minutes. Waterford, Stonington, Westbrook, Lisbon. If you’ve ever wanted to see Kristen Stewart as a slightly randy, very random, butt-kicking international dirtbag of mystery, you’re in luck. Even if you never knew you wanted that, you’re still in luck, because that is exactly what Elizabeth Banks’s “Charlie’s Angels” delivers. And it’s a treat. Banks has dusted off the lady spy franchise that was a cheesy 1970s sitcom and a McG-directed blockbuster in the early 2000s. They’ve given it an empowering update, full of therapy-sanctioned self-acceptance language and social justice-oriented clients, but the formula remains: babes kicking butt. — Katie Walsh, Tribune News Service

DOCTOR SLEEP

R, 151 minutes. Through today only at Niantic, Mystic Luxury Cinemas, Waterford, Westbrook. Still playing at Lisbon. When we first see little Danny Torrance in “Doctor Sleep,” a crafty and curiously moving sequel to “The Shining,” he is riding his tricycle once more through the serpentine corridors of the Overlook Hotel. The details are uncanny and instantly transporting: the boy’s overalls and red shirt, the hexagonal pattern on the carpet, the gliding virtuosity of the tracking shots. For a moment it’s as though nothing has changed, even though something clearly has. So fully does the writer-director Mike Flanagan commit to the illusion he’s conjured that you may not fully register the difference until Danny stops and turns his head, revealing the profile of the actor playing him (Roger Dale Floyd). It’s a deftly timed little reveal: The flashback we’re seeing is not footage spliced in from Stanley Kubrick’s 1980 film but a fastidious re-creation. “Doctor Sleep” follows an older, present-day Dan Torrance (played by Ewan McGregor) into a world of bright-minded children and nomadic child killers, all of whom share some version of his psychic gift. — Justin Chang, Los Angeles Times

1/2 PG-13, 152 minutes. Niantic, Mystic Luxury Cinemas, Waterford, Stonington, Westbrook, Lisbon. This infectious and engrossing story of the 1966 showdown on a French racetrack between car giants Ford and Ferrari is a high-octane ride that will make you instinctively stomp on a ghostly gas pedal from your movie seat. But you don’t need to be a motorhead to enjoy Matt Damon and Christian Bale as a pair of rebels risking it all for purity and glory. Yes, director James Mangold takes you down onto the raceway, with cameras low to the ground and care to show the crack of gear shifts and feet on pedals. Yet he’s not created a “Fast and Furious” film — this is more a drama about a pair of visionaries who fight against a smarmy bureaucracy. Damon plays the legendary American driver and car designer Carroll Shelby, who won Le Mans in 1959 but gets sidelined from driving due to a bad heart. He considers the best driver in the world to be Ken Miles, a daredevil British missile played by Bale. — Mark Kennedy, Associated Press

THE GOOD LIAR

1/2 R, 109 minutes. Niantic, Mystic Luxury Cinemas, Stonington, Westbrook, Lisbon. Mirren. McKellen. How could it possibly be that “The Good Liar” is the very first film in which the dame and the knight have costarred? Bill Condon brings them together for this adaptation of Nicholas Searles’ novel, with a screenplay by Jeffrey Hatcher. The twisty little tete-a-tete is a fine vehicle for the two charming British actors, but it’s potentially the politest, gentlest movie about a scammer ever. Although Roy (Ian McKellen) and Betty (Helen Mirren) admit to embellishing a thing or two on their first dates, Roy’s just a bit too ingratiating. He’s an older, more dignified version of “Dirty John,” romancing elderly ladies with his sweet and nonthreatening demeanor, sussing out the size of their retirement accounts. But you don’t cast Helen Mirren in a role where she isn’t the more intelligent and cunning half of a pair. — Katie Walsh, Tribune News Service

1/2 R, 209 min. Madison Art Cinemas. The boys are back, substantially older but no less prone to mayhem, in Martin Scorsese’s wiseguy epic “The Irishman.” It’s the director’s first collaboration with Robert De Niro and Joe Pesci since “Casino” almost 25 years ago, and his first ever with Al Pacino. There’s an appealing mix of nostalgia and excitement in this cinematic reunion tour, which sees De Niro effortlessly playing the title role of Frank Sheeran, a real-life Irish-American who joined the East Coast mob after World War II. Pesci is the world-weary crime boss Russell Bufalino, while Pacino huffs and puffs marvelously as none other than Jimmy Hoffa, the charismatic Teamsters leader who mysteriously vanished in 1975. — Rafer Guzmán, Newsday

JOJO RABBIT

1/2 PG-13, 148 minutes. Starts Friday at Westbrook. Through today only at Mystic Luxury Cinemas. Viewers familiar with the antic wit of Taika Waititi might wonder what he’ll next pull out of his hat. The answer, “Jojo Rabbit,” might be a trick for the ages. A sprightly, attractively composed coming-of-age comedy set in World War II Germany, “Jojo Rabbit” is an audacious high-wire act: a satire in which a buffoonish Adolf Hitler delivers some of the funniest moments; a wrenchingly tender portrait of a mother’s love for her son; a lampoon of the most destructive ideological forces that still threaten society and, perhaps most powerfully, an improbably affecting chronicle of moral evolution. Refracted through the childlike perspective of its alternately sweet and appalling 10-year-old protagonist, the horrors of Germany under Hitler’s Reich aren’t defanged as much as defenestrated: They go flying out the window as quickly as the film’s sight gags, punchlines and Mel Brooksian “Heil, Hitler” bits. Young Jojo Betzler (Roman Griffin Davis), has grown up under Hitler’s rule and wants to join the Hitler Youth. — Ann Hornaday, Washington Post

PG, 118 minutes. Through today only at Waterford, Westbrook, Lisbon. In this sequel, Maleficent fades to the background, eclipsed by full-camp Michelle Pfeiffer as the evil, Trumpian dictator queen. Equally distracting