Mark Olsen

The entire movie has a disappointing air of smug self-regard about it, with an expectation the audience will adore everything about the characters as much as they do. What at moments feels like a nascent interrogation of contemporary masculinity ultimately suffers from the very impulses it seems to want to parody.

With Tuesday, Pusić shows great promise as a visual storyteller and director of performers. Yet it is in her work as a screenwriter where the film falters. Without the power and nuance that Louis-Dreyfus brings to the role, the drama would not have nearly as much spine or impact as it does.

There is a journeyman’s proficiency to “Chapter 1” but little in the way of real spark.

Boutella often has an otherworldly screen presence that makes her perfectly suited for this kind of material, but the fussiness of all that is happening around Kora means that the character and performance never get a chance to breathe and blossom, or to fully come to life.

Despite a few scattered moments, the team-up action of The 355 never fully comes together.

The film’s politics are not exactly sophisticated, motivated more by the convenience of the moment than any cohesive worldview.

Though Logelin’s story of loss and perseverance is touching, there isn’t really anything deep or convincing about grief or parenting in Fatherhood, making this promising tale something more middling and a touch disappointing.

The highlight of the movie by far is the relaxed, easy chemistry between McCarthy and Cannavale.

As with even the worst of Allen’s films, there is just enough to satiate fans and make the whole thing seem maybe, possibly worth the effort.

While the performances ensure that the movie is always watchable, the hesitant storytelling makes it far from compelling, a bad trip about a bummer vacation.

The Outpost is a visceral battle picture but little more.

The movie would like to see itself as a feminist allegory of abuse and systemic oppression, but it comes off as something far more scattered and unfocused.

Rae and Nanjiani have a quicksilver chemistry, flashing from playful banter to genuine, hurtful arguing in an instant.

The Wrong Missy is a lightweight throwaway, the kind of movie it is difficult to suggest one actually choose to watch, but if your algorithm somehow lands on it provides a certain harmless diversion.

The original film was not a time capsule; it was a snapshot, capturing a unique time and place. The new film simply doesn’t have the same spark and energy.

Extraction would be better if it just doubled down on being dumb. Instead, although the movie does indeed have some dazzling action sequences, they are interspersed with dramatic scenes that feel increasingly belabored, giving the movie a peculiar stop-start rhythm as it makes its way to a lumbering, extended gun battle final set piece.

Endings, Beginnings has some genuinely engaging moments somewhere in between its beginning and its ending, but too much gets lost in a saggy, shaggy middle.

The movie feels disjointed and made up of parts that Dolan couldn’t bring together as it shuffles between three story strands.

After a strong start the movie steadily declines, one set piece after another, and there are many moments where the mind wanders and then asks: “Is this still going on?”

The movie is all over the place and there is no attempt to weave it into a coherent whole — which is regrettable as scene for scene it often works.

Von Trier has managed to cobble together just enough of interest — odd moments, pieces of performance, stray ideas and the simple audacity of putting this mess out into the world, that it feels like there may be something there worth considering, a maddening possibility. And that may be his cruelest prank of all.

The movie is handsomely mounted with upscale production values, but it feels sluggish and disjointed.

Like husbands who think that carrying in the groceries is really pitching in, Lucas and Moore have their hearts in the right place, but their efforts have little real insight or impact.

The movie isn't fantastical enough to sustain itself outside the bounds of reality, yet every time something real creeps in, the movie stumbles and cowers.

There is so much about its package – the stars, the premise, the talented supporting cast – that would make for a film of warmth, humor and insight on the struggles of leaving the past behind and getting out of your own way on the path to fulfilment. Instead, the movie settles for being a party comedy and little else.

The film works better as social satire than straight horror, as the murder plot that drives it along always feels unconvincing.

As told by Helgeland this Legend simply isn't memorable, because a tremendous effort by Hardy is let down by unfocused storytelling.

The movie is pleasant and charming, but when making a big-screen adaptation of a beloved classic and genuine touchstone for generations, adequate doesn't feel like quite enough.