Johnny Oleksinski

Hamilton the film is just OK.

A terribly funny sendup of the show that famously gave us “Waterloo” by ABBA in 1974, and now gives us a year’s supply of crazy. The Netflix film is the most enjoyable music industry parody since Christopher Guest’s folk satire “A Mighty Wind.”

Worse, it’s as funny as a political science class.

The film begins at ugh and ends at dang. You don’t yell at the screen so much as yawn at it. An intriguing plot then turns into a telltale heart that doesn’t pulse.

It’s the most touching dramedy about young women battling over a sash since “Little Miss Sunshine.”

This fantasy flop is sunglasses-and-fake-mustache bad.

Good for Lee for being a director of many ideas in a heartless Hollywood of sequels and franchises.

The final shot of Apatow’s movie is the iconic Staten Island Ferry, bringing to mind “Working Girl,” “Manhattan” and countless other New York City classics. The King of Staten Island joins that list.

"I need something bad and fast,” criminal Graham Bricke says to a weapons dealer early in The Last Days of American Crime. The Netflix action film definitely fulfills one of those criteria: It is so, so bad — but it is ever eye-gougingly slow.

Whatever sophisticated point Decker and screenwriter Sarah Gubbins aim for here is undone by its pretentious academic characters, whose arrogant droning would make you switch seats if you were next to them at a coffee shop.

If Canadian director Bruce McDonald’s dreams are anything like the disgusting underworld we see in his new movie Dreamland, get the man a doctor.

The Vast of Night goes cold-turkey on most of the elements that have come to define science-fiction in recent years. There are no explosions, car chases, superheroes, hot aliens or lack of self-respect here. Instead, it boldly goes where great sci-fi used to go.

The lovable Ross, who does her own singing, doesn’t have her mom Diana’s diva energy, and Johnson speaks with only a rote understanding of music. The film’s one twist is as predictable as tomorrow’s itinerary.

Most of their scenes come off as low-stakes dueling stand-up routines, rather than a plot that builds.

The CGI, by the way, looks awfully cheap in a market that includes boundary breakers such as Pixar and DreamWorks. Hanna-Barbera was never the animation powerhouse that Disney and Warner Bros. were back in the day, but it overcompensated with personality. Warner Animation Group’s Scoob! has got none of that.

For those of you who thought Al Pacino yukked it up too much as Jimmy Hoffa in “The Irishman,” get ready for this ham dinner.

If you want to celebrate the life of legendary actor Brian Dennehy, who died last month at age 81, start with one of his final films: Driveways. His performance as a widowed veteran is right up there with his finest screen work, which makes his passing all the sadder.

We learn very few specific details about this somewhat monotonous guy, and yet that vagueness makes him and his quest more relatable.

Sometimes it’s refreshing when a movie is just an improper noun that delivers what it promises.

The blend of coming-of-age and coming-together in director Fernando Grostein Andrade’s film is a poignant one, regardless. The lessons Abe learns about life through Chico and his inventive cooking are made all the more beautiful by how tasty and colorful the food looks. And with Schnapp’s work in the title role, I found myself believing that a 12-year-old Brooklyn boy just might be able to solve the world’s thorniest conflict with an appetizer.

This bore fest is nearly two hours of sizzle-less romance and thudding dialogue, centered around the sort of obnoxious free spirit who’d start up an unwanted conversation with you at a bar

There simply aren’t enough synonyms for “loathsome” to do the new movie The Hunt justice. Perhaps if we expand into other languages. C’est détestable! È ripugnante!

Here’s what’s smart about director Gavin O’Connor’s film: Although a lot of movies about addiction fixate on the agonizing and physically punishing withdrawal process, this one doesn’t.

Here’s some perfectly mindless couch viewing.

The style and tone of writer-director Dan Scanlon’s movie has elements of DreamWorks’ “Shrek” and “How To Train Your Dragon” mixed with the siblings-with-secrets aspects of Disney’s “Frozen.” But Onward is better for the change-up. That stylistic and narrative departure gives us Pixar’s most heartfelt story in years.

Many modern teen issues are touched upon — depression, anxiety, eating disorders — and because of the honest performances from Smith and Fanning, you ache for them.

Coogan and Isla Fisher, as his friendly ex-wife, are well-cast, if too mean and fake. But their comic talents are wasted on Michael Winterbottom’s sorry attempt at a mockumentary. Actually, it’s a bit greedy.

What a gift Zeitlin has with children. He showed that special skill with “Beasts,” but does even more so here, with the kid ensemble being full of personality and entirely unrestrained. The freedom and unbridled joy they find on the island are infectious, like their movie.