Kerry Lengel

In the end, this may be a case of a pop-culture icon being dragged down by the weight of trying remain relevant past its prime. It’s not woke, but you can’t call it racist. Maybe racist-ish. Misogynistic-ish. Entertaining-ish.

Fans of fancy period costumes and supernatural effects both get plenty to gawk at, but the story offers no real surprises, and that includes the big plot twist.

Sarah Burns steals scenes as a seemingly prim social worker, and Melissa McCarthy (Sookie on "The Gilmore Girls") does the same as a pushy neighbor. The supporting cast serves up enough small moments of surprise to keep this formula flick from falling flat.

This well-intentioned buddy-road-trip flick lacks the danger, the drama and the sex appeal that most moviegoers will be looking for.

It’s formulaic. It’s predictable.

It’s an enjoyable ride, but probably not one you need to take twice.

Genisys is more entertaining than the last two installments, although it's not nearly as good as the first two.

There's a great film hiding somewhere in the wreckage of "Love Ranch."

It’s not that overwrought violence and human depravity are unfit grist for art, but without a compelling plot and a modicum of character development, all this film has to offer is a repugnant prurience and heavy-handed atmospherics.

Will anyone really believe in this GQ-perfect big man on campus who lacks the courage to ask her out on a date?

It’s a maudlin, meandering bit of moviemaking that sheds little light on the loyal opposition in the North.

Annie has never been the most sophisticated of children's stories. The latest version is formulaic and predictable, but it has its charms, not the least of which is Wallis' easy smile and sassy screen presence.

It aims to match the mythic gravitas of “The Lord of the Rings” — even throwing in a nod to the Book of Exodus for good measure — and the results fall paint-by-numbers flat.

I guess I was charmed in spite of myself. I’m reminded of a quote from Alexander Pope I had to memorize as a kid, which gave me fair warning about the likes of Andrew Lloyd Webber and “Cats”: “Vice is a monster of so frightful mien / as to be hated needs but to be seen; / Yet seen too oft, familiar with her face, / We first endure, then pity, then embrace.” Did I tear up a little? Maybe. Do I ever need to see “Cats” again? Nah, I’m good.

May walk like a comedy and quack like a comedy, but despite the absurd extremes to which it takes the squabbling-family formula, it inspires nary a chuckle.

Like nine out of 10 faith-based films, it lets the message crowd out the other elements of good art: character development, thematic complexity, even basics such as a compelling conflict.

Seventh Son is recommended only for the most far-gone of fantasy addicts, for whom it will serve as a sort of methadone. It won't exactly satisfy, but it will tide you over until the next season of "Game of Thrones."

It’s cute and entertaining, in a Saturday morning cartoon kind of way, but this one is just for the kiddies.

I can give the filmmakers — director Dito Montiel and screenwriter Adam G. Simon — the benefit of the doubt on good intentions, but their approach doesn’t tug at the heartstrings so much as it pistol-whips the audience with its grandiose and (ineptly) manipulative storytelling.

A Madea Christmas, for all its narrative shortcomings, also has plenty of laughs.

The sequel's target audience may be too young to realize that the best punch lines are long past their expiration date, but at least they're learning the idea of the catchphrase. They can hear the exclamation points.

The Cobbler definitely won't please the audience for Sandler's mainstream blockbusters, and it's unlikely to win him new fans among the indie intelligentsia, either.

It is the cinematic equivalent of a greeting card: Both the sentiment and the laughs are plentiful, cheap and forgettable.

At once hopeful and melancholy, it won't necessarily leave you with deep thoughts to think, but rather a feeling that you can't quite name but sticks in your head like a wistful tune in a minor key.