Moira Macdonald

We can’t travel these days, so it’s fun to wallow in the scenery and its vivid colors. Want a great movie? Go watch the original Rebecca instead, but you probably knew that already.

In between all of these delights is an awful lot of filler

There’s exactly one good jump-scare, which probably would have caused me to drop my popcorn if I hadn’t finished it already; otherwise it’s fairly uninspired. But something about Quaid’s delivery had me giggling throughout — or, at least, until things got rather too dark in the final minutes.

Ultimately, her run and Roseanne for President! meet the same fate: not quite entertaining enough to qualify as comedy, nor quite thoughtful enough to take seriously.

You wish Perkins would have shown up with his red pencil during the screenwriting stage, when he might have done some good.

None of this has any real reason for being; even the tiniest bit of drama that Vardalos’ screenplay scares up...gets wrapped up by the hour mark. But Vardalos has created a community of characters and players so likable, it seems almost mean to criticize.

Even the heavenly chorus that’s working overtime on the soundtrack can’t drown out the lack of chemistry between Howard and Pratt. And the movie too often defaults to people running around screaming — which is, to be fair, the backbone of this franchise, but it gets awfully old here.

Passengers turns out to be a very strange journey indeed; here’s hoping these two team up again, in something more worthy of them.

If “golden retriever voiced by Kevin Costner” rings any alarm bells for you, steer clear.

Lesser actors would have drowned in the muck, but these two almost sell it.

The Mummy starts off light and very quickly goes dark — fading rapidly, along with our hopes that this latest monster mash might possibly be any good.

The cast is a likable bunch, and I can see how Tag might go down nicely with a couple of beers beforehand; it’s definitely funny in spots, in a we’re-making-this-up-as-we-go-along sort of way.

Danny Strong’s film, which stars Nicholas Hoult as Salinger...isn’t terrible; it’s just one of those period films that never catches a spark — you find yourself admiring the elegantly lit rooms and the meticulous 1940s costumes, rather than becoming immersed in the drama.

Ultimately, it’s a wild experiment that mostly falls flat.

Ultimately, Haunted Mansion feels like the ghost of a movie — just a fleeting shadow, one you can barely remember in the morning.

A mostly agreeable but empty-headed mess. It’s sort of the movie equivalent of Derek Zoolander himself.

The film feels long and slow, and the subject matter familiar. We never quite get caught up in it, despite the appealing cast; a thriller directed at a snail's pace simply isn't very thrilling.

The plot’s a mess, the run time is overlong and ultimately the movie feels like a slew of good actors trapped in a gorgeous place, wearing beautiful clothes and gazing at the impossibly blue water.

Happy anniversary, Little Women, but I think I prefer you back in the 19th century; dreamy professors aside.

While it’s often great fun to look at, “Crimes of Grindelwald” fails at what should be Rowling’s great strength: storytelling. Three more to go, and an infusion of magic is desperately needed.

Greta is a disappointment from Jordan, who’s made far better movies (“The Crying Game,” “The End of the Affair” and, more recently, the elegant vampire film “Byzantium”), but Huppert seizes hold of the film and chills it, in a way that’s both shiver-inducing and bracing.

Political satire is one of the trickiest of genres; this one, running out of steam and nerve, ultimately becomes a too-familiar example of another genre: the 93-minute movie that feels way, way too long.

Unfortunately, the filmmakers — busily splashing the film in crayon-colored light, vaguely sinister pop music and jittery camerawork — forgot to give Vee and Handsome Stranger (his name’s Ian) much personality.

The Goldfinch feels like a series of often-elegant moments, in service to a story that never quite comes into focus.

Snatched is one of those movies that feels like a rough draft of itself. A few more rewrites, a few more laughs, a little (well, a lot) more attention, and maybe it would have been an amusing summer comedy.

It’s not terrible, but it’s an elegantly filmed stumble.

Ultimately, despite Nanjiani’s best efforts, it’s a disposable fast-car summer movie, neither terrible or good, for those biding their time before the next “Fast & Furious” installment.

Ultimately, the film’s unwillingness to go deeper makes it fall flat.