Steve Davis

By the end, however, the movie’s predictable wind-down and ho-hum twist at the end make this Life hardly worth living. In space, no one can hear you yawn.

The movie brims with unexpected zest, an enthralling joie de vivre that seduces despite any reservations you may have.

Director Ceyda Torun was born in Istanbul and lived there as a young girl, leaving the city with her family at age 11 to live in Jordan and later New York City, but it’s abundantly clear her heart has never left her birthplace. Kedi is a valentine to her childhood home.

It honors this extraordinary couple’s defiant and unwavering love for each other, but it doesn’t celebrate it much beyond a cliched falling-in-love montage and a chaste wedding-night scene. You can look, but you better not touch.

Whether it’s a case of miscasting is unclear, but without a willing hero to anchor this already dubious movie from start to finish, The Great Wall hits a brick wall.

Whatever your perspective, there’s one thing for sure: The Red Turtle is unlike anything else you’ve seen in a while.

It’s a rat-a-tat-tat animated comedy that rarely lets up, clever and silly and funny, and yes, a bit batty.

While occasionally engaging, The Comedian isn’t very funny.

Collette – usually a delight – sounds like she’s phonetically speaking a foreign language. Not even Judi Dench could sell these lines.

One thing about this extremely talented artist: He never sees anything in just black-and-white.

The most distressing thing is the complete lack of accountability for Tripp and Creech’s destructive joyride, which results in a significant amount of vehicular damage and possible human injury.

The borderline campy The Bye Bye Man is a horror movie in search of an urban legend. Based on a chapter in the 2005 collection of allegedly strange-but-true paranormal tales "The President’s Vampire," the premise is second-rate Stephen King.

Even when the film doesn’t hang together perfectly, MacDougall maintains its momentum as his character painfully journeys toward a sense of acceptance. It may be only a few days into 2017, but this is a performance that you’ll remember for the rest of the year and beyond.

Luckily for Franco, Cranston makes for the perfect comic foil in Why Him?.

Allied is so full of itself it forgets to entertain most of the time. Here’s so not looking at you, kid.

If you’ve ever felt the same about a Felis catus, you’ll cut A Street Cat Named Bob some slack for the same reason I did. You won’t be able to help yourself. And stock up on some Kleenex beforehand. You’re gonna need them.

Though it’s impossible to know exactly how these two people felt in coping with this untenable situation – they only wanted to get married and raise a family, nothing else – Nichols gives you a damn good idea, even when it slightly wears your patience.

While all of the performances in this movie are superb, Harris’ turn here is hands-down award-worthy.

The last ten minutes or so are heartwarming to the point of schmaltz. Even the adept Lassgård, as the old fogey version of Ove, can’t make this increasingly feel-good schtick stick.

Embrace the simple pleasures of pen to paper.

It’s meant to be thrilling fun, but it never takes off in the way imagined.

Cassel’s feline visage, covered in a velvety layer of fur for most of the movie, doesn’t fare much better. At times, he resembles an angry cast member from Cats rather than the tormented fiend trying to find his human self once again. It’s beastly.

The movie’s disjointed weirdness begs the question: Was Hess ever in the driver’s seat?

Animated films have trended toward a perceptive intelligence in the past few years, but Storks wades in shallow waters most of the time.

The script is replete with filler inserted in the name of “real life”: bad jokes and silly riddles, spontaneous songs, and improvised scenes in which conversations go around in circles.

The Vessel speaks eloquently. It’s a testament to the substance of things hoped for, the evidence of things unseen.

Any adult attending this film with a pre-K offspring may need to reassure the child afterward that little Tigger back home won’t devour him in his sleep. No kidding. They’re that scary. The Wild Life is an ailurophobe’s nightmare.

Director Lane and screenwriter Thom Stylinski take a lighthearted, folksy approach to telling Brinkley’s life story, using fairly unsophisticated animation and twangy vocalizations in the spirit of the man’s carefully created image.