Peter Travers

Just isn't enough.

Funny but perilously slight.

Gorden teases out some affecting scenes, but not enough to carry a film that promises more than it delivers.

Rushed off to Netflix when theaters are readily available, this fitfully competent “Jaws” ripoff will have to do until the real thing comes along. Condolences to leading lady Phoebe Dynevor who deserved better.

Strains credulity at every turn.

Thompson never disappoints, nailing every nuance of a judge who lets the world in at the cost of losing her own judgment. This is acting of the highest order.

Somehow, Lucille's plight is meant to comment astutely on the civil-rights movement. Now that IS crazy.

Until the last half-hour, when Lucas actually does establish a emotional connection between the landmark he created in 1977 and the prequel investment portfolio he laid out in 1999, the movie is one spectacularly designed letdown after another.

It’s shameless fluff wrapped in a blanket of bland. You won’t believe a word of this romcom knockoff, but JLo and Owen Wilson work real hard to convince you that love is the answer.

Despite Bates' mastery at bringing unexpected depth to unhinged characters, Dolores is a few pints low on chills and challenge.

I'd see Tina Fey and Paul Rudd in anything, but this is pushing it. Admission is so slight that a breeze could flatten it.

As always, Tom Hanks is in there pitching, but this time it’s mostly softballs. The cliched plot about a reformed grumpy old man is so obvious you can see it from outer space.

With the Bard’s words, Henry roused his soldiers to action: “We few, we happy few, we band of brothers.” With this mediocrity, it’s more a case of how the war was wan.

The climax, in which all the characters link arms in a dance and sing, could serve as a textbook illustration of forced gaiety. Much Ado is much askew.

Inside this manic jumble about a family of prehistoric ‘Flintstones’ knockoffs lies a brightly animated bauble that speaks to the power of staying connected even when forced apart. Pretty good for a cartoon, especially during a pandemic.

Mad trippy or catastrophic? This DC superhero epic is actually a mix of both, dragged down by exhausting multiverse hopping but flashy fun on the wings of captivating star Ezra Miller and the grumpy comic perfection of Michael Keaton as a Batman on the ropes.

A flabby farce that might win a pass at the box office because it's just so cute and family friendly. But where's your edge, guys? Where are the laughs that walk a tightrope?

Malick has created a war film without a single scene of war, of Jewish persecution, of the thought process that helped Franz hold steadfast. It’s one thing to fashion a film about one man’s blind faith; it’s another to keep audiences in the dark about the fundamentals that made him human.

It sounds pretty cheesy and sometimes it’s a whole cheese wheel, but Hugh Jackman and especially Kate Hudson sing and act their hearts out.

The filmmakers don't trust us to understand what Eddie is feeling about the Olympics without blaring a musical message from Hall and Oates on the soundtrack, "you make my dreams come true."

Sollett, hoping for a "Before Sunrise/Before Sunset" vibe, sadly settles for a soggy aftertaste.

Witherspoon has the class, the sass and the full-out talent to sustain a major career. Who else could turn the wimpy Sweet Home Alabama into a date-movie winner? She's one of that select group who is worth watching in anything. Even in this less-than-magic kingdom, Reese rules.

Though the film has an evocative look reminiscent of Matthew Brady’s period photographs, Zwick has stuffed the actors’ mouths with numbing bombast. Glory is a shame.

In this romcom that evaporates while you’re watching it, a mismatched Halle Bailey and Regé-Jean Page fight a losing battle to outshine the scenery.

Slim pickings.

Will Smith has an easy charm, and this labored romantic farce works it hard. Too hard.

Wobbly but well-intentioned broadside against racism.

By the end of the film, the cliché of everybody getting along is reduced to both sides working together in the ultimate monument to capitalism: a mall. Some message.