As a film, it’s like science fiction, a visit to Planet Obscenely Wealthy. It is weirdly compelling.

A perfectly serviceable thriller, smarter than many, but it has too much of a reputation to live up to.

Wolf Totem doesn’t feel so much like fully formed narrative film as it does a trumped up National Geographic special on Inner Mongolia eager to make use of shiny new IMAX cameras.

Although the film features a powerhouse performance by Clarke Peters as Da Good Bishop Enouch Rouse, it's saddled with a sloppy story.

There are complex situations, well-acted characters and a central relationship that feels authentic and mature — and yet it's missing some element to bring it fully into focus.

For all of Cianfrance’s seriousness, the material proves too essentially melodramatic, hokey and self-serious to save. No gorgeous cinematography and no cast, no matter how A-list, can ultimately save this material from itself.

The movie presents a cute lesson about the importance of family sticking together.

As events unfold, Raimi’s hand becomes more and more apparent, and that’s a good thing.

Scott does a nice job with the first part of the film, setting the stage for what is ultimately a disappointing conclusion.

Does the movie have anything new to say, anything different from John G. Avildsen's 1984 original, with Ralph Macchio and Pat Morita? Not particularly.

It almost works. Actually, it does work, hitting the requisite number of hip notes. It just doesn’t dazzle, and that’s kind of a surprise.

One is left wanting to know more about Mr. Rogers, but the film reduces him to little more than a kind of superhero family therapist.

Between Valkyrie ruling New Asgard and Jane Foster vanquishing shadow monsters as Mighty Thor, it seems early on as if the women would lead the way in “Love and Thunder.” It helps that, throughout, Thor is more often than not the butt of the joke.

Fichtner is always good; just trying to sort out his accent here is kind of fun. Plotnick is the key, however. He plays it straight, even as the world around him grows weirder by the minute. Often he seems confused by the proceedings, which is fitting: Join the club, pal. But we’re having a better time of it than he is.

It’s not going to make you forget “Snow White and the Seven Dwarfs” or “Bambi” or “Frozen” or “Tangled,” but elements of it might remind you of them. Which is by design.

Jason Schwartzman has become, without question, the go-to actor when you want a character with off-putting, even annoying traits, yet need to have the audience side with him just enough not to want to strangle him.

Emancipation, Antoine Fuqua’s well-meaning and graphic depiction of an enslaved man who escapes in search of Lincoln’s army and freedom for himself and his family, is a mostly affecting, no-holds-barred look at degradation, inhumanity and, ultimately, inspiration. But at times — too many times — Emancipation also plays like an action-adventure movie.

The Dark Divide will win over nature lovers with stunning visuals and an overarching message about the importance of conserving our unpredictable planet and relishing the beauty of exploring it.

Clearly set up to be the first film in a franchise. It's not a bad movie, but I wouldn't hold my breath for that.

While it is a perfectly serviceable placeholder in the larger series, its contributions to the Potterverse are disappointingly minor.

There’s something about a lot of the film as a whole that makes it feel as if Lanthimos is trying a little too hard.

The film, directed and co-written by Kevin Reynolds ("Fandango," um, "Waterworld"), is a nice-enough telling of the Resurrection of Jesus, which at times seems like it also wants to be a Very Special Episode of "CSI: Jerusalem." It's well-made and well-acted.

The camerawork makes Mond's film lovely to look at. But whether you want to spend time with James White depends on your tolerance for yet another film about how hard it is for guys who just feel too much.

Just Go with It provides not only the title of the film but a one-step instruction for how best to enjoy it.

Smith’s performance, in which he resists the urge to go over the top, and the subject matter make Concussion an interesting movie, but not the urgent one it could have been.

It just sort of chugs along in predictable fashion, bolstered by a couple of good performances here, thrown off-track every now and then by implausible or unearned developments there, but overall a decent effort.

Juror #2 isn’t quite forgettable, but it’s also not the movie we’ll remember Eastwood for.

The Commuter doesn’t stand above or below most of Neeson’s action-hero fare. But you dependably get what you pay for.