Calvin Wilson

Another “Jurassic” flick wasn’t necessary, but it’s a fantastic ride all the same.

Garfield (“Hacksaw Ridge”) brings his usual boyish charm to the proceedings while allowing for the occasional burst of precisely calculated angst. Foy (Netflix’s “The Crown”) arguably has the more difficult role, hinting at Diana’s inner doubts while maintaining a sunshiny demeanor.

Allen has been criticized for leaving some of the plot lines up in the air and several characters in the lurch. But he seems to be making a point: Neat Hollywood endings are as phony and dangerous as Cristal's ramblings.

Pregnant with possibility; it's the delivery that disappoints.

Valerian has some cool visuals. But there’s more to science fiction than pretty pictures.

Skyscraper clearly aspires to be a 21st-century update of “Die Hard” (1988), one of the best action thrillers ever made. Instead, it’s just another film that squanders the movie-star charisma of Johnson, who should consider lending his box-office clout to more worthy projects.

Fresh and delightfully offbeat, The Accountant proves that a thriller can be complex and nuanced while fulfilling its mission to entertain.

The been-there, done-that nature of the plot doesn't take away from the undeniable sweetness found in Just Wright.

A foul-mouthed comedy, which isn't necessarily a bad thing. "Bad Santa" (2003) also had plenty of crude language and lewd behavior. The difference is, "Bad Santa" was extremely funny.

Page is outstanding as a young woman who has finally found happiness, only to see it cruelly slipping away.

Whereas "Chill" attempted to define a generation, "Lies" is more of a statement about the nature and limits of friendship.

Delivers a feel-good film that nonetheless allows for genuine moments of working-class anger.

Perhaps it’s time for a moratorium on road movies. Despite its strenuous efforts to come across as quirky and original, Boundaries goes nowhere.

Egoyan doesn't flinch from exploring the dark side of curiosity. That includes dealing with sexuality in a way that might make some moviegoers uncomfortable.

Wilson isn’t a bad film, but it could have used less melodrama and a lot more insight.

Offbeat and unpredictable, Demolition takes a wrecking ball to audience expectations.

Tests the loyalty of fans that may expect his work to be extreme, but not to such an extent.

Delivers a story that feels more like a footnote to history than a neglected chapter. But the cast is first-rate, notably Neeson in the title role. “Mark Felt” benefits mightily from his very particular set of acting skills.

Inspired by a true story, Gold is a major disappointment — a film of admirable ambition but woefully underwhelming execution.

Struggles heroically, but unsuccessfully, to strike a balance between whimsy and pathos.

Based on true events, 7 Days in Entebbe pulls off the difficult trick of making terrorism boring.

Still, it’s worth seeing for Affleck’s charismatic performance and for its vision of America as a land of greed, violence and political expediency that some moviegoers will find all too familiar.

Highly enjoyable while you’re watching it, but it’s not particularly memorable.

Director Roar Uthaug (“The Wave”) delivers a state-of-the-art popcorn flick that’s at its best when the focus is on the spunky Lara rather than the special effects.

One Day fails to make us care about the young couple at its center.

Admission is one film you may not want to get into.

I Feel Pretty takes a while to get going, but it eventually finds its groove and proves to be an amusing showcase for Schumer’s talents.

Winslet deftly balances spunkiness and vulnerability, and Elba (still fondly remembered as a surprisingly erudite criminal on HBO’s “The Wire”) exudes brooding masculinity.

Would have benefited from the kind of objectivity that Bass -- as Sar's well-heeled sponsor -- was hardly in a position to deliver.

An oddly uninvolving adventure story.

If you’re interested in Williams and his music, this film is better than nothing — but not by much.

Like the fairground ride for which it’s named, Wonder Wheel is entertaining but not enlightening.

Working from a screenplay by Ed Solomon, director Jon M. Chu is more craftsman than poet, but the charismatic ensemble cast engages in the trickery with style.

A bit slow to get started, and it's nowhere near as funny as "The Hangover." But it'll make you smile.

This is a movie that Holden would have skipped.

An action comedy that works. But it’s also a surprisingly poignant romance. This is the summer flick you’ve been waiting for.

Working from a screenplay that he co-wrote with McCarthy, director Ben Falcone (who happens to be her husband) keeps things moving but without much of a spark.

This is a generic, uninspired and mind-bogglingly boring comic-book movie that’s out to steal your money and time.

Clearly, this is a star vehicle — and the eminently likable Johnson is unquestionably a star. Through sheer force of personality, he elevates Rampage into something reasonably entertaining.

It’s downright depressing to see Oscar winners Hunt and Hurt struggling to make something meaningful out of their superficially written characters.

Tickets to Pacific Rim Uprising should come with a package of aspirin.

Sitting through A Good Old Fashioned Orgy is like being monopolized by the most irritating person at a really boring party.

Plays as if Tillman studied the works of director Michael Mann ("Heat"), but got a C on the final exam.

As potential blockbusters go, Batman v Superman is neither as stupid nor as stupendous as it might have been.

Fulfills its mission, which is to be a crowd-pleasing tearjerker.

This party is a dud.

Don’t get burned by Inferno.

If you’re looking for a film that’s just about guaranteed to make you feel good, you’d be well advised to drop by Daddy’s Home.

Suburbicon is a flawed attempt at dark comedy, but it’s hardly the disaster that critical buzz would have you believe.

It's simply an opportunity to spend time with characters who may lack depth but are fun to watch.

The film eventually runs out of rocket fuel, piling on the special effects but arriving at a disappointing conclusion.

Despite its intriguing premise, the film amounts to little more than tedious, clichéd melodramatics.

In a small role as a self-absorbed film producer, Mark Wahlberg is touchingly effective.

If being seated at Table 19 is a drag, watching the film of the same name is worse.

Suicide Squad had the potential to be as hilariously irreverent as “Deadpool,” a surprise box-office hit about a similarly sociopathic hero. Instead, it’s just another film that relies on special effects to distract the audience from a story that’s overblown and underwhelming.

Working from a lackluster screenplay by a squad of writers, director Taylor Hackford (“Ray”) delivers a film so low in energy that it’s almost as if it was made to assist airline passengers in falling asleep.

Seth Rogen is the Green Hornet. What else do you need to know?

The franchise has sadly devolved into a cynical cash grab.

Third Person doesn’t lack for ambition, and it’s nice to see Neeson in the kind of role that he excelled at before he morphed into an action star.

A would-be light thriller that's so deficient in the genre's essentials - such as witty dialogue, intriguing characters and surprising yet credible plot turns - that you're embarrassed for everyone involved.

The comedy is so lame that the whole enterprise comes across as depressing.

Oyelowo and Mara achieve terrific chemistry. Perhaps they’ll work together again — in a better film.

Working from a screenplay by Jason Fuchs, director Joe Wright seems overwhelmed by the material, and he fails to make us care about any of the characters.

After watching Post Grad, you may wonder whether Hollywood will ever stop making generic comedies with zero tolerance for originality.

Keeping Up With the Joneses is hardly worth the effort.

Webb delivers a film that’s somewhat derivative, but succeeds as a welcome alternative to superhero extravaganzas.

Loosely - very loosely - based on the classic Jonathan Swift story, "Gulliver's Travels" begins promisingly but quickly loses its way.

Although the film begins promisingly, it proves to be little more than a soap opera.

Annie is not a great movie musical — but it’s a fun time at the movies.

In Hollywood, it’s all about the concept, and some studio executive must have thought it would be fun to watch Adams slogging around in the Irish mud. Unfortunately, there’s no accounting for taste.

As cop comedies go, Ride Along 2 gets the job done.

As original and risk-taking as its subject, Steve Jobs will make you think differently about an American icon.

In a way, Stonewall is proof that the gay community has fully made the transition to the mainstream. It’s now subject to the kind of Hollywood nonsense that was previously reserved for heterosexuals.

The best that can be said for this film is that it’s short.

Collateral Beauty is based on a premise so preposterous that the film shouldn’t work. But the illusion of credibility is sustained just well enough to keep things from falling apart.