Mike Scott

For her part, Stewart has Jett down pat: her strut, her slouch, her sexiness. This is a performance that goes far beyond Jett's shag haircut.

Plotwise, though, Brewer's Footloose is anything but loose. In fact, it's rigidly loyal to the original, to the point of slavishness.

The actors never stray too far from their comfort zones, resulting in a sporadically funny but mostly bland crime comedy that only occasionally feels fresher or more memorable than that cold pizza you scarfed for breakfast Monday morning.

While Villeneuve’s film boasts a certain trippiness, for the most part it lacks any sense of joy, adventure or fun.

It continuously feels less like straight-up reportage and more like a fan film, one built on equal parts idol worship and wishful thinking.

Ritchie and company spend too much time being cute and not enough time being clever, resulting in a one-dimensional comic-book version of Doyle's detectives.

Does his film fishtail around narratively? Does it feel overly episodic? Does it lack any sort of stick-to-the-ribs substance? In order: Yes, probably and for sure. But it is also a fun and enjoyable summertime diversion, and sometimes that’s all the message a movie needs.

So while J. Edgar ends up feeling like a mostly complete portrait of the man, and as fascinating a story as it is, it still falls just short of being something entirely memorable.

Worse, Shrek Forever After feels like just another animated movie -- which is exactly what the series was fighting against when it started, and a big reason why it caught on with audiences.

All of the pieces fall into place by the third act -- or most of them, anyway. But Tinker, Tailor, Soldier, Spy is such a cold, unemotional film that getting there is a chore, muting the payoff.

If you appreciate historical melodrama, you could do worse than Vincere.

Between its penchant for melodrama and an absolute lack of warmth, The Lesson isn’t the kind of film that will connect with many viewers in a way that sticks to their ribs much longer than the closing credits. Still, between the work of its expert cast and Troughton’s well-played surprises, there’s enough there to make it a sturdy-enough, diverting enough bit of blockbuster-season counterprogramming.

Burger's film would have been better had he ended it about three minutes earlier than he does -- a move that would have given his movie at least a dash of profundity.

It's a decent comedy, mind you, one with its fair share of chuckles. But it's really more amusing than it is fall-out-of-your-seat funny.

This is a film custom-made for dog lovers.

It’s beautiful, but it begins to fade, and fast — until there’s little, if anything worth remembering.

And while Simien’s “Haunted Mansion” might not entirely bury the memory of its predecessor, it sure throws a few shovels full of dirt on its grave.

Trades breathless romance for a fun "Ripley's Believe it or Not"-flavored weirdness.

Michelle Pfeiffer's performance brings life to a sometimes sagging script. Also, Kathy Bates is a hoot as the mother of Pfeiffer's love interest.

Breezy but forgettable.

A movie that wants to be a crowd-pleasing romantic comedy at times and a weighty drama at others. It ends up being an imperfect blend of both.

But the way [Stone] elevates things in Cruella, taking what is a mediocre, fairly formulaic script and making it sing — making us eager for the next scene, just to see what she’s going to do — isn’t something a lot of people can do, and it’s thrilling to watch.

What Noyce and company don't seem to realize is that there's a huge difference between a superspy and a superhuman.

You want to introduce your kids or grandkids to the undeniable pleasures of I Love Lucy? Then I’ve got one word for you: re-runs. Because Being the Ricardos doesn’t do Lucy justice or suitably celebrate her career.

It's a nice, feel-good story with an appealing cast and strong production values.

A slick and sweet film all on its own, a harmless bit of fun that fills the Easter-movie void.

Despite the derivative nature and low production values of Super, there are laughs in the at-times ragged script.

Fortunately, there's enough charisma in those doe eyes -- to narrowly rescue the featherweight Leap Year from becoming a full-blown case of Erin-go-blah.

Audiences won’t likely find it Pixar-profound, but it’s not direct-to-DVD forgettable, either — or “My-Little-Pony”-cloying. Plus, it’s got horses. And, if you’re younger than 13, that counts for something.

9, though animated, isn't really a movie for kids. The problem is that, despite its strikingly original set-up and its cool steampunk visual vibe, it's not much of a movie for grown-ups, either.

Director Martin Campbell does a nice job of creating suspense, and Ray Winstone stands out for his performance as a conflicted hitman.

There are some nice surprises in store, as well, but the longer Madden's story goes on, the more manufactured things tend to feel.

It represents the rare lead role for Mackie, and he seizes the opportunity, convincingly playing the part of a soft-spoken former Black Panther.

A beautifully uncomplicated story, really -- about the love between daddies and their little girls.

In the context of COVID, Slingshot becomes something else, transforming from what would have been a decent but derivative sci-fi thinker into a stirring ode to the vital importance of others.

Intermittently interesting, but well-intentioned, it almost makes up for "The Tourist."

So what is Bridesmaids? A boozy wedding comedy? A touching character story? A paean to friendship? At turns, it's each -- making it a wedding movie with a commitment problem and giving Feig's scattered film a rudderless quality between the laugh lines.

With its immensely likable cast elevating the material, Judge extracts just enough ironic chuckles to rescue the movie from being written off as an assembly-line comedy.

That's not to say it's a bad film, necessarily. It's just not as good as it could have -- and should have -- been.

Blending old-school practical effects with computer-enhanced explosions of blood and viscera, Renfield tips its cap to the past without being overly reverential to it. Add in frequent outbursts of meticulously choreographed action sequences, and we end up with a film that is more fun than frightening.

As with most Ferrell projects, there's nothing profound going on in The Other Guys. It's just a bit of good, stupid fun, had at the expense of an uber-formulaic genre that has long been ripe for the spoofing. But it also works.

Twenty-five years ago, it would have been impossible to imagine that Imagine That would see Eddie Murphy and The Beatles coming together to create family entertainment, but I'll be darned if it doesn't work.

A predictable but painless pastiche of high school drama clichés that will give its intended tween audience a lot to squeal about -- and leave their parents reminiscing quietly about how good films from '80s icon John Hughes were.

While Crisis can fairly be criticized as emotionally cold, with its heavy and humorless story generating more sympathy for its characters than empathy, there’s no denying its timeliness, offering a compelling look at what will certainly be remembered as one of the most underplayed tragedies of our time.

This isn't the kind of film that will leave audiences in awe of clever writing. Rather, it will leave them thinking how much Fuqua wanted to make a movie version of "The Wire."

A satisfying dose of wild imagination and unbridled silliness.

The result is an often-screwball jaunt that isn't without its fun moments.

These characters are so likeable, and so well-portrayed, that it's easy to go along with it all.

As clearly calculated and self-consciously cutesy as it is, it's also tender and meaningful stuff -- and far more watchable than other recent attempts to capture the existential angst of adolescence. ("The Art of Getting By.")

I've got a fourth verb to add to the comma-challenged title of Julia Roberts' how-to-be-happy travelogue, Eat Pray Love. How about "edit"?

It boasts strong acting and a nice dose of suspense.

Getting two biographies on the same person in such a short window is unusual. What's even more unusual is that both suffer from the same flaw.

What Kwapis does do, however, is nicely handle the film's whale of an emotional payoff.

It's easy to be interested in the characters' lives -- as tragic as they are -- but it's not nearly as easy to become emotionally invested in them.

Don't expect there to be a run on Secret of Kells action figures any time soon.

It goes down far more easily than the budget-friendly tripe so often passed off as a romantic comedy here in the streaming era.

If there's a prevailing problem with director Richard Loncraine's bit of period fluff, it's that many of the characters encountered along the way are a touch too cartoonish to resonate meaningfully with audiences.

One major reason it succeeds is because of 11-year-old actress Bailee Madison, who brings a wonderful believability to her role as the girl at the center of the film.

All along, though, I was struck by an even stronger feeling, that I was sitting in on somebody else's therapy session. That's not a comfortable feeling -- and that makes Extremely Loud & Incredibly Close considerably less rewarding than it should be.

How do you know when a romantic comedy just isn't working? Key indicators are that your audience doesn't get goose bumps in the inevitable third-act reunion. They don't get misty-eyed. In short, they don't really care.

What we're left with is a movie that is about as nourishing as the Junior Mints and nachos available at the theater snack bar. But, then, many a Friday night dinner has been made of far less.

There isn't a whole lot of nuance in writer-director Rachid Bouchareb's unapologetically political movie. As such, it doesn't take much brainpower for a viewer to stay a step or two ahead of his plot the entire way.

These women deserve to have their voices heard, and this film finally lets them have their say.

Leisurely paced and plot-challenged, it's too unique and kindhearted to be outright disliked, but it's not the kind of film you can get too close to, either.

Once the real story hits its stride, it's easy to get lost in Sanctum.

It is, in its best moments, an interesting exercise for Bullock — and a just-passable diversion for audiences in the mood for something a little more gritty and somber than a repeat airing of It’s a Wonderful Life or some other feel-good holiday standard.

Best of all, here there be fun.

It's a fun one to talk about -- if only for the opportunity to shake your head in amused disbelief at what you just saw.

A morality play, this is not. What it is, though, is a sturdy bit of the kind of well-formed, well-conceived regional cinema we don’t seem to get enough of anymore.

A film that is neither great nor horrible. Favreau does enough things right in Cowboys & Aliens to churn out a mostly enjoyable bit of mindless summertime action, just not enough to come close to rivaling his 2008 crowd-pleaser "Iron Man."

It's probably best not to think very hard about any of it -- just dummy up and laugh along.

For all of the faults one can find with Kiet’s film, she’s also exactly the kind of hero many American women probably need right now.

As fun as it is at times -- particularly early on -- the longer The Sorcerer's Apprentice goes on, the more the magic wears off.

The good news is that when the monkey and the lizard start fighting — which, let’s be honest, is really why we’re all here — brother, it is a sight to see. Between the chest-beating, fire-breathing and general mayhem, Godzilla vs. Kong is, if nothing else, a visual feast.

Still, built as it is around big, dazzling action sequences and a terrific cast — which in addition to the charismatic Mackie includes Harrison Ford and Tim Blake Nelson — “Brave New World” still manages to scratch the “Avengers” itch.

Potiche never becomes funny enough or interesting enough.

It is, in short, a fun, diverting ride — which, come to think of it, probably doesn’t really need context at all.

For a movie about the value of memories, it won’t go down as particularly memorable. Ten or 15 years ago, its visual effects might have been something approaching stunning. Today, they — like the dialogue, the pacing and pretty much every other element of the film — are only just good enough to allow audiences to suspend their disbelief.

The result is a film that is equal parts fluff and tough.

I Want You Back is sweet and enjoyable enough while it’s playing. At the same time, it’s not nearly memorable enough to earn a spot in most moviegoers’ annual Valentine’s Day rotation.

There's humor there, but this is a "smart" comedy, which is to say it's not intended to make you guffaw.

Marking the Oscar-winning actress’ feature directing debut, it’s unquestionably a formula film, telling the story of a talented but troubled fighter whose must overcome long odds, crippling self-doubt and tragic life circumstances to achieve in-the-ring redemption. Familiar though that plot might be, it’s the way she fills in the blanks that gives her film a sense of something new.

What it does have going for it are its lead actors -- Brand and Hill both know exactly how to deliver a punch line -- and a lead character who represents one of the best bits of rock 'n' roll satire since "This Is Spinal Tap."

If it weren't for the casting of Sandra Bullock and Ryan Reynolds in the lead roles, the film probably would have gone straight to DVD.

There's an overly episodic feel to it all, as Curtis and company seem happy merely to float along from gag to gag.

A surprisingly entertaining movie on its own, a strap-yourself-in, suspend-your-disbelief summer popcorn adventure.

Between its ridiculous setup and its hard-to-care-about ending, McDonald still manages to craft an engaging suspense film that -- when you're not scratching your head in puzzlement -- will have you on the edge of your seat.

Even if the obligatory third-act twist arrives with all the subtlety of the Four Horsemen of the Apocalypse, Drag Me to Hell otherwise steers mostly clear of predictability.

Director David Bowers' story is straightforwardly -- almost unimaginatively -- approached. But, armed with a talented cast and Kinney's chuckle-generating source material, it functions nicely as a sort of big-screen "Wonder Years" for Millennials.

A bronto-sized slice of big-screen entertainment buoyed by dazzling visual effects and intense action, and a film that plays like part adventure movie, part monster movie and part thrill ride.

There's a soothing catharsis in the idea that good guys are every bit as capable as bad guys of raining hellfire down on their enemies.

Ends up being an enjoyable, if only marginally memorable, ride.

Hit and Run achieves its chief goal: to put the pedal to the metal for some good, goofy fun, squealing the tires as often as possible along the way.

Boxtrolls stands reasonably well on its own, as a cool steampunk fairy-tale that serves as yet another testament to the artistry of the folks at Laika.

Pixels is a slice of pure, frivolous entertainment that doesn't try to overreach.

Still, there's more here to like than to dislike in what ends up being a feel-good movie about a feel-bad topic, a la "Little Miss Sunshine."

A sleight-of-hand heist film that feels like a cross between David Blaine and "Ocean's Eleven," with a little Robin Hood thrown in, it's a ripping bit of fun. If, that is, you let it be.

The result is a hoot, as Nelson breathes comic life into the proceedings with an effortless, unselfconscious joie de vivre.