Odie Henderson

It works well as a documentary, and I can’t deny that Presley gave 110 percent to his audience at every show. That in itself is impressive. (If you’re a fan, add an extra star to my rating.)

The reason romantic comedies fail so often is that they attempt too much. “Fly Me to the Moon” may be the busiest example I’ve ever seen. It’s also one of the worst, despite its eclectic needle drops convincing me that I need to buy its soundtrack album.

The Penguin Lessons severely falters when it deals with the dangers of military occupation. It’s hard to watch a serious subplot involving people being “disappeared” by the government juxtaposed with scenes of cutesy penguin mayhem and classroom hijinks.

Elba’s skills as a helmer are not yet as refined as his considerable acting chops, but his firsthand knowledge of London’s Hackney borough gives the film a lived-in feeling, a sense of intimacy that registers onscreen in both quiet and violent moments.

The fact that director Ben Berman is making a documentary would make this concept quite unsavory, that is, if the entire enterprise weren’t so damn dull.

Coming 2 America is like attending your high school reunion: You’ll enjoy seeing the familiar faces of those with whom you once shared such fond experiences, but then you’ll realize that the nostalgia of that past is far more fulfilling than the harsher realities of the present.

Maggie” is Schwarzenegger’s “Cop Land,” that is, a feature designed to highlight and showcase that which an action movie hero could only hint at in glancing moments between explosions.

Eleanor the Great is one of the worst and most distasteful movies I’ve seen in a long while.

The climax of The Amateur is one of the least satisfying meetings of hero and villain I’ve seen in a while.

SuperFly is visually flat, relying too much on oft-repeated motifs of rap videos rather than the ingenuity I expected. By the fourth time someone “made it rain” around strippers or executed a gory shoot-out, I gave up on potentially seeing something new.

Despite the return of director Steven Soderbergh (who also serves, as usual, as editor and cinematographer), writer Reid Carolin, and star Channing Tatum, this installment pales in comparison to its superior predecessors. Dare I say, it lacks — magic?

This is good, fun summer fare, shot in ominous shades of darkness by cinematographers Roman Osin and Tom Stern and fueled by an effective score by Bear McCreary that isn’t obtrusive. Ovredal knows how to stage atmospheric horror sequences, and the Norwegian even gives us a variation on a Viking funeral that serves as the film’s biggest emotional moment.

Nothing in An Ordinary Man rings true; not the location, nor the performances nor the story.

Nora Garrett’s screenplay isn’t concerned with fleshed out characters; everyone here is a stand-in for some issue designed to get a rise out of the audience.

Not even John Toll, who won two Oscars for cinematography, can make this movie look good. Stay home and watch the real Super Bowl instead.

You need a blackboard full of X’s and O’s to keep track of the petty plays this movie's running.