Soren Andersen

The original “Deadpool” caught lightning in a bottle. The sequel sparks only intermittently.

Watch this movie and you might die, of boredom.

The emphasis here is on the splashy spectacle with those insider-knowledge elements jammed together in a frenetic hodgepodge.

Monster-movie fans will certainly get their money’s worth in this one.

The blending of the realistic elements such as the planning and preparations for the raid with the more surreal aspects of the picture feels forced and awkward. In real life, the raid was an astonishing success, but the movie is ultimately a failure.

Gringo has no spark, no fizz. Its scenes sag like overstretched taffy. Flavorless taffy.

The visuals are gorgeous. The mood is unsettling from start to finish. Annihilation is a strong sophomore effort from a very talented filmmaker.

As long as the third and, one hopes, final installment is, it feels even longer. There’s more of it, much more, yet paradoxically, much less.

It’s a remarkable true tale of great heroism. It’s also an account of a clash of cultures.

[Neeson's] impressive physicality, (a tower among men), his rumbly basso-profundo voice and his impressive demeanor give him a natural gravity that allows him to rise above the most absurd material. And he does exactly that in The Commuter.

Jumanji: Welcome to the Jungle is reasonably clever and reasonably diverting.

The humor is broad and obvious (yes, Ferdinand winds up in a china shop, with predictable results), but there are a number of scenes that hit the mark.

Last Jedi is deep. It’s also rollicking. It’s right up there with the very first “Star Wars” in terms of its enjoyability factor. It’s a triumph.

It’s heart that’s overflowing with love, poignancy, humor, color and music.

With its well-drawn characters (a Linklater trademark) and mood of quiet restraint, Last Flag Flying touches the heart at a deep level.

Only the super-speedy Flash, played by Ezra Miller, lightens up the proceedings. Miller’s goofy eager-beaver take on the character, very reminiscent of Tom Holland’s Spider-Man, is the picture’s saving grace.

A colossal waste of time and the moviegoer’s dollars. That’s the bottom line of Daddy’s Home 2.

Blade of the Immortal is a pretty good title for a samurai movie. I’ve got a better one: “10,000 Corpses.”

Forster gets decent performances from Lively and Clarke, but the overall impression “All I See” leaves is of a picture that fails to live up to its filmmaker’s ambitions.

The Coen brothers’ section, derived from a script they sent to Clooney in the late 1990s, is much more impactful, with Damon giving a performance that renders his character downright chilling and Jupe doing heart-rending work as a child emotionally buffeted by the grievously flawed behavior of the adults who are supposed to love and protect him.

Neeson’s Felt is deeply conflicted about being a turncoat. He’s also deeply flawed, a man who authorized illegal activities to track down members of the terrorist Weather Underground.

Under the direction of Joseph Kosinski (“Oblivion”), a large cast headed by Josh Brolin and Miles Teller bring great vitality and sensitivity to their performances.

In terms of the imaginative ways it expands on the themes of the first movie, it is the rare sequel that is at least the equal of its iconic original.

At heart, “Kingsman” is a comedy, though granted, one with abundant dismemberments and literally mind-blowing violence. And I mean “literally” in the very strictest sense of the term.

Cruise and company wanted to make American Made a fun and often funny ride, but there’s something oddly joyless about the whole enterprise. Its overweening cynicism leaves a curdled aftertaste.

There is fun to be had here. Adults can appreciate the verbal byplay. For the kids, there’s frenzied noise, and those toys.

Sequelitis has Vaughn in its grip. The follow-up to his 2014 hyperviolent, boundlessly inventive spy-movie sendup gives the impression it’s trying a little too hard to surpass its predecessor.

Jolie draws restrained, naturalistic performances from her all-Cambodian cast, particularly young Sareum Srey Moch. There’s a stillness and a stoicism in her portrayal that makes her an unforgettable figure in this unforgettable movie.