Critical Mass: ‘Ghost in the Shell’ is a hollow spectacle, ‘Boss Baby’ is fired

Read the full review here. Which, come to think of it, is pretty much how anyone should approach this movie if they want to have a good time. Rotten Tomatoes: 41%
Metacritic: 49

The Zookeeper’s Wife
Opens March 31   in theaters nationwide. EW’s Leah Greenblatt   says:
The movie is nicely shot and sympathetically acted, but there’s an odd lack of stakes and urgency, considering their mission—the real-life couple did, in fact, save some 300 lives over the course of the war—and scarcely a moment or character that strays from the familiar. They’re saving this one special — and very, very violent child (although there will turn out to be others like her). Rotten Tomatoes: 92%
Metacritic: 77

Show Full Article Larson takes surprisingly few pictures for a photographer, but she does get her Fay Wray moment. I wish there was just a little bit more of it in this   Beauty and the Beast. Like so much about Condon’s film, the new songs are perfectly fine, but they’re just not transporting. Consider the cultural devolution from something like   Wicked —   a lacerating female-first deconstruction of an old children’s story — to   Oz, The Great and Powerful, the story of a money-obsessed con man with a heart of gold who gets the good girl by vanquishing all the bad girls. B
Read the full review here. The stakes aren’t grandiose, no one’s saving the world. Ghost in the Shell
Opens March 31 in theaters nationwide. Rotten Tomatoes: 56%
Metacritic: 58

The Discovery
Begins streaming March 31 on Netflix. Ghost in the Shell and The Boss Baby are poised to give Beauty and the Beast a run for its money at the domestic box office, but did they also   conjure decent movie reviews from movie critics? Rotten Tomatoes: 71%
Metacritic: 65

Power Rangers
Now playing. Mangold shoots the film in a grungy, south-of-the-border Peckinpah palette. Meanwhile, Kong does his thing and does it well. But it feels like they never figured out what to do with it. C

Read the full review here. Kong swats the military helicopters out of the sky like a giant swatting pesky flies. The deep-dive mythologies and intriguing moral quandaries raised by the script aren’t so much explored as exploded in a flurry of high-gloss action sequences and vaguely deep koan-of-the-day dialogue. The team starts dropping bombs and wreaking havoc on the island, letting you know that the real monster is man himself. More than movies or theme parks, Disney has always been in the business of selling magic. EW’s Chris Nashawaty   says:
Cranston’s Zordon tells the teens that an evil fallen Power Ranger (think Darth Vader) named Rita Repulsa has been reawakened from way back in the day and is about to destroy their peaceful seaside town of Angel Grove (and the rest of planet Earth) in her search for the coveted all-powerful Zeo Crystal. EW’s Chris Nashawaty   says:
Once in the castle, Belle and Beast both quickly (too quickly) change: He goes from cruel captor to fellow booklover; she goes from fiery inmate to besotted Stockholm Syndrome victim in time for their love to save the day. I kept waiting for a single tear to streak down his big hairy cheek. EW’s Darren Franich   says:
But there are worst case scenarios, instances where empty cynicism dissolves into sour snark, where the pretense at self-awareness becomes its own retrograde stupidity. Alan Menken and Howard Ashman’s musical numbers are peppered throughout along with some new ones by Menken and Tim Rice. Major’s search for her identity; the reason the bad guys are bad and the good guys do good; the future they’re all fighting for: None of it matters much, beyond that we’re told to accept that it does. Or, at least, well enough. Jackson barks his great vengeance and furious anger. C+
Read the full review here. EW’s Chris Nashawaty   says:
As for subtlety, there isn’t a whole lot   of that either. I kept waiting for Jeff Goldblum to show up on their communication screen to say, “Life…uh…finds a way.” Espinosa stages some clever scares and creative kills while the crew make one bone-headed decision after another in their bid to survive (they have a particular knack for opening hatches when they should stay closed). Since Laura’s mutant physical gifts are so identical to Logan’s, there’s a melancholy to their relationship. Eventually the movie gives up the   Ghost, and settles for a gorgeous shell. It’s both as manipulative and hokey as that sounds, but occasionally it works well enough that you might find yourself getting choked up against your better judgment. B–
Read the full review here. Consider the whole quotemarky “It’s just a joke!” tone of online discourse, the rise of smirking insincerity as a political mode   and   an intellectual dialectic. EW’s Chris Nashawaty   says:
Logan   is essentially a road movie, but it’s a dark one (and a very long one). Hiddleston smolders and briefly wields a samurai sword. [Charlie] McDowell, who co-wrote the script with Justin Lader, had an intriguing what-if idea. B–
Read the full review here. The crew tries every way it can to kill the thing, but Calvin won’t die. You can tell that she knows exactly what kind of film she’s signed up for and she’s decided to have a ball with it. The Discovery is a puzzle of a movie. Rotten Tomatoes: 66%
Metacritic: 55

Now playing. There isn’t a lot of hope in the movie. But it is a really fun one. The rest are, more or less, just bodies lining up for the body count—although some of the kills are surprisingly clever and not   worth spoiling. B–
Read the full review here. The poor misunderstood guy seems destined to keep proving to humankind that he comes in peace. Rotten Tomatoes: 47%
Metacritic: 44

Kong: Skull Island
Now playing. EW’s Leah Greenblatt   says:
If there’s anything Sander’s ravishing set pieces fail to sufficiently color in, it’s the story’s emotional stakes. Rotten Tomatoes: 51%
Metacritic: 52

The Boss Baby
Opens March 31   in theaters nationwide. Life   isn’t a great movie (in fact, it’s kind of a mess). B+
Read the full review here. And mostly, they succeed. It’s all gibberish, really — blockbuster Mad Libs where you could easily substitute “Zeo Crystal” with “Infinity Stone” and “Goldar” with “Apocalypse” or “Kraken” or “LEGO Joker.” The only thing that makes this battle-heavy second half orgy of green-screen destruction remotely interesting is Elizabeth Banks’ Repulsa. Somehow it manages to keep pushing enough joy-buzzer buttons to keep the audience on edge until the last scene. If it feels like   Life   succeeds in spite of itself, the important thing is that it succeeds. With so many new   and holdover titles entering theaters this weekend, EW wants you to make good choices at the movies, so consult our Critical Mass reviews guide below before heading to the multiplex this weekend. Rotten Tomatoes: 56%
Metacritic: 58

Beauty and the Beast
Now playing. And then there’s   The Boss Baby, merely mediocre yet disturbingly familiar, for we   are all Boss Babies now. She’s the daughter he never slowed down enough to allow himself to have. During her quest, she will summon a humongous gold beastie called Goldar. Then again, watching smart people make dumb choices is one of cinema’s deepest pleasures. EW’s Chris Nashawaty says:
It’s not giving anything away to say that from this point on,   Life   is basically a zero-gravity bodycount flick —   And Then There Were None   in space. B-
Read the full review here. Rotten Tomatoes: 78%
Metacritic: 62

Now playing. Even at its most engaging (those cubs!),   Zookeeper   can’t help evoking the dozens of films that have told these stories before, and better. Unfortunately, it’s the kind of puzzle you get half way through and decide to move on to something else. And Reilly delivers sorely needed punchlines between exposition about Kong and the island’s backstory. More than ever, Jackman’s Logan seems like he’s at an existential dead-end, and he’s never exactly been a barrel of laughs to begin with. EW’s Chris Nashawaty says:
As Will (Jason Segel) tries to sabotage his mad-scientist father (Robert Redford) and get [Rooney] Mara’s Isla to share her secrets, the movie turns into a plodding, somber thriller minus the thrills. Meanwhile, Reilly and the mighty Kong   are left to save the picture. A cackling sadistic crone with a sweet tooth for gold and insult comedy, Banks’ baddie gives the leaden fight scenes some adrenalin and winking humor. The loner has to learn to put someone else first.