Stephen Whitty

This movie has Chris Hemsworth, in between "Avengers" movies, and a lot of computer-generated sea life. It uses a lot of fancy lures, but it never hooks you.

The Hitman’s Bodyguard is a movie for anyone who just wants to see Samuel L. Jackson curse, Ryan Reynolds smirk and Salma Hayek kick butt while looking absolutely incredible. Not that there’s anything wrong with that.

It’s not top Woody, perhaps. What is, anymore? But on a cold day, it’s as welcome as the familiar smell of greasy fries, the feel of gritty sand, the winking of those far-off colored lights.

Slim movies like this live or die based on their personal charm, and the sour Destination Wedding soon wheezes its way into the ICU.

Unforgettable isn't.

There's noise and movement, an all-out war, and the usual happy ending, but no real blood, no real life. And not much fun.

Some movies are feasts. Some films are desserts. This picture is cheese in a can, and if it only accepted that, it would be a lot more fun — like “Alligator,” the tongue-in-cheek classic that had a toothy terror climbing out of a city sewer.

Alexander Skarsgard is more abs than actor as the ape man, and Margot Robbie's Jane looks about as 19th-Century as an Aussie surfer girl. Together, they produce all the real-life passion of an Abercrombie & Fitch ad.

It's all angst and no adventure, a lot of fury and little fun.

The Angry Birds Movie is just fowl.

Foy and Alvarez have still spun the old and new elements together in an effective web. If this is a trap, it’s one you won’t hurry to escape from—or even fear being caught in again.

Inside the endlessly dull, oh-so-serious All I See Is You there’s a short, fun, trashy movie dying to get out. And dying. And dying.

Director James Ponsoldt — who did the very good "The Spectacular Now" and "Smashed" — is great at visuals, peppering the screen with glowing tweets and comments. He overplays the comedy, though, and underplays the mystery — there's never a feeling that Mae is in real danger.

Backtrack eventually moves beyond its shamelessly borrowed set-up to create a few chills of its own.

Why is she attracted to him? For that matter, why are we watching?

Diesel is the star (as well as a producer), in every scene. And he drags the film down with him.

Despite the constant effort and genuine warmth of star Melissa McCarthy, the film’s stitched-together stories come apart early on.

It loses some of its warmth, and most of its charm. And it ends up as nearly as cold and creepy as the space it takes us through.

Despite its novel plot, and some lovely music and incidental artwork—the title fireworks, the rugged seaside and that glittery magic ball are all beautifully rendered—the film quickly drags.

For a movie that’s supposed to be about a modern-day Geppetto bringing his dolls to life, the wooden Welcome to Marwen never makes it out of the toy box.

Robert De Niro is back doing standup in The Comedian, and it's a movie made to be heckled. Full of gross jokes (and an even grosser love story), it deserves the hook — and fast.

Moonwalkers is supposedly a comedy. So its clever conspiracy quickly goes disastrously wrong.

For fans of this goofy sort of comedy, or of Atkinson’s similarly loopy “Mr. Bean,” it may be a gentle treat.

It's fun for a while, on a simple, single-shooter, video-game level. And for a change, the movie's stunts plug into Statham's pre-Hollywood career as a champion diver; this may be the most watery thriller since "Thunderball."

All the flash and sizzle of modern movie effects can't make up for a once spectacular tale that feels not just scaled-down, but shrunk.

After a sharp, satiric opening, though, Baywatch slowly sinks. The scenery is pretty, including the actors, but Johnson and Efron are better at making fun of themselves than landing zingers.

So, Bobby, seriously, what the hell is happening? You got a new movie, or what you’re billing as a movie, except it's already on cable and I figure a month from now it'll be in one of those Redbox things. And it's called Heist, I guess because it wants to separate me from my money.

Quick, what do you call it when a movie takes both of the year’s biggest breakout action stars and wastes them in a bad Kevin Costner movie? Criminal.