The Secret Life of Pets is a pleasant-enough movie that would have been much better had it lived up to its title.

Is it a good movie? It’s OK. But is it funny? It is, and ultimately that’s all it sets out to be.

The false notes are outnumbered by those that ring achingly true.

It’s not the best movie you’ll see this year, but it’s the most movie by a long shot.

The movie is never boring, but there may be some information overload for laymen in the audience.

Sometimes, a movie just has a magic about it, something that makes you look past implausibility and plot holes and whatever other shortcomings it may have and leaves you feeling good just for having seen it.

Our teenage years are so overwrought with emotion; not to put them in play at all makes Brandy feel like little more than a cipher for Plaza’s deadpan dark humor. And that’s pleasurable enough for a quick fling, but hardly the foundation of a lasting relationship.

The Sense of an Ending is a twisty tale of time and memory that owes most of its compelling nature to Jim Broadbent.

What it lacks in comedy, “Dog” makes up with heart. It celebrates a different kind of love as Briggs and Lulu learn how to trust each other despite their postwar trauma.

To the film's credit, it knows it's ridiculous. It's aiming for ridiculous, and it hits the mark as precisely as the strippers groove half-naked to their beats.

The Hornet's Nest serves as a somewhat effective bonding exercise for father and son. But the best of what it has to offer moves beyond that, and puts us alongside the people fighting a daily battle and, sometimes, heartbreakingly, losing the fight.

Documented is obviously a bit of advocacy filmmaking, which is fine, but most of the time it's not compelling enough to reach beyond the converted.

It’s a good movie, so smartly directed by Ralph Fiennes, who also appears as Nureyev’s dance instructor, that at times it feels like an IQ test. But the story is intriguing and, ultimately, gripping enough to overcome all that.

How you feel about the film will depend on how you feel about politics, probably. But don’t let partisanship get in the way of appreciating another inventive film from McKay, and some truly brilliant performances. Surely on that, we can all agree.

Bullock’s performance anchors the movie — and nearly drags it down. Ocean’s 8 has the cast, and the cultural moment, it needs. It just doesn’t do enough with it.

What you would expect from the third film in an unlikely franchise: less of the same.

Secretariat was such a commanding presence, the first Triple Crown winner in 25 years, a Time magazine coverboy, the focus of the public's imagination during his pursuit, that any excuse to relive that excitement is worthwhile, and Secretariat gives us one.

This is a good movie, but it lacks the visual wonder of the first, along with the sense of play at which von Trier, even at his most controversial, is so good.

Ortega wants us to see that allure, feel that lust. But to do it, he has to turn fact into fiction.

It’s hard to get excited about any of the on-screen happenings, because director Justin Lin can’t seem to hit the right notes.

It's hard to imagine sitting through the film without Penn in the role of Cheyenne. But there he is, in all his intense, bizarre glory, almost daring us to come along for the ride and rewarding us with a compelling trip when we accept.

Although this movie has lots of laughs and a willingness to poke fun at itself, it doesn't quite recapture the magic of the last movie. Close, but not quite.

You don't really know what the movie is truly about until the third act. For some, that might be a lengthy journey you don't want to take. But for many, it's an emotional adventure — full of touching moments and captivating visuals — that's well worth the wait.

17 Girls doesn't try to explain its many mysteries. That would have made for a better film, but this one does a nice job showing its effects.

The movie has its moments (some of the songs are fun, as always), but like Plankton’s efforts at taking over the world, it’s ultimately a disappointment.

Adult World is a happy surprise.

I'm happy to report that Blue Beetle doesn’t suffer from the ponderousness that weighs down so many other DC movies. It's lighter, more fun, and delivers the jokes, bright colors and nods to ridiculousness that you want from a superhero movie. And speaking of the superhero, the Blue Beetle emerges as relatable and easy to cheer for.

It makes for a unique sort of concert film, but also a weaker one. It would have been better if it had dispensed with the frail narrative or else committed to being completely bananas. But as die-hard Metallica fans well know, a little buffoonery is worth weathering for the main attraction.

If anything, Carnage does too little to adapt to the new medium, and the result is a film that makes its audience feel as trapped as its characters.

Yes, in the end, Trance is pretty manipulative. But again, with Boyle behind the camera, it’s a more satisfying experience than it might have been. If we’re going to be manipulated, it might as well be by a master.

It’s a dark comedy about class warfare, government overreach and infectious disease. It’s a lot more fun than that sounds.

It makes for an entertaining movie, one you can tell is glossing over some details and minutiae. That's probably a good thing overall, but that, and an inability to nail down a consistent tone, leaves it feeling a little incomplete.

Scream VI is a decent film with a transitional feel, a signal that you can take the show on the road and it still works. But it doesn’t leave you screaming for more.

Ultimately, At Any Price isn’t terrible, but you can tell that’s hardly the endorsement the filmmakers were seeking.

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

Kudos to Blomkamp for not shying away from social issues in his films, but here the execution doesn’t live to the intentions.

While the actors certainly have charm, the farcical plot is so formulaic that the comic fizz often feels forced.

There’s more than a whiff of the didactic in Difret, a film overly earnest in spelling out its cause in more-than-occasional exposition. But it is otherwise an affecting drama that is honest and clear-eyed about Hirut’s trauma, and the ongoing struggles she’ll face even if she’s freed, without ever treating her abuse in an exploitative manner.

The filmmakers work at creating a new take on an old protagonist and then don’t really have much new to do with him once they’ve achieved that. It’s a good effort. Just not an entirely successful one.

Sicario: Day of the Soldado is exciting, and still delivers nihilistic thrills. But this time around, the filmmakers are satisfied with that and not much more.

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.

I’m not sure there’s a lot more going on here than a) the ultrarich are clueless dolts and b) everyone else will do just about anything to become part of the clueless ultrarich. And it’s all so over the top, that’s all it really needs.

Despite the seriousness of the subject matter and the characters’ complex emotional journey, the film turns into something of a thriller with twists that, given the context, beleaguer believability.

Things go from far-fetched to insane before it's over, and Vaughn wisely keeps the pace at a healthy clip. But never underestimate his power to floor you.

Indeed, the best parts of Birds of Prey are the action sequences of the all-women team fighting together, but many of these scenes don't take place until the movie's second half.

If you dig Hart’s stuff, you’ll probably love the movie. So go.

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.

It lays on the pathos, moralizing and forced whimsy thicker than figgy pudding, but it’s still entertaining, heart-warming family fare, thanks in large part to charmingly sincere performances.

As statements go, it’s somewhat compelling. But really, the look of Like Me is the big draw here, and it’s what makes the film both interesting and well worth seeing. As for Mockler, it’ll be fascinating to see what comes next.

While Bullock and Tatum’s chemistry doesn’t sizzle on-screen, their romantic storyline still manages to make sense. Their hate-to-love journey is paved with laughs — yes, even at Brad Pitt’s expense — and a seemingly genuine camaraderie.

Spectre is still fun, the cast is top-flight. And had it been the first Bond film with Craig in the title role, the reaction likely would be "wow!" This is some good stuff, way deeper than the silly Bonds. But with history behind us, it feels a little slight.

The Invisibles is part documentary and part feature film. For most of the movie, it's a good thing.

The new Ghostbusters is a pretty funny movie, a goofy take on the goofy original that has some good laughs and a dopey story.

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

The effect is initially giddy but it ultimately wears the viewer down.

The rest of the cast is fine, actually, but Rudd spares nothing in making Ned a lovable loser, with the emphasis on "loser."

It is, at times, a charming reprieve from the usually dour cinematic explorations of Middle Eastern conflicts. But big-hearted and well-intentioned as the film is, it's frequently undone by its own silliness.

It’s all very British, enough so they should serve tea and crumpets during screenings. Some of it is also entertaining. Just not enough.

[Renner's] outstanding as a man passionate about his work. His character is not perfect — just ask his wife and children — but he is certainly a good man trying to do good things.

This isn't a movie for everyone, but for fans of quirky charm leavened occasionally by uncomfortable, realistic exchanges, it's a small delight.

Weird” is one word for it, and it certainly applies. But so does “creative,” “inventive,” “compelling” and, finally, “good.” Dave Made a Maze is all of those things, a one-of-a-kind movie from director and co-writer Bill Watterson.

The Do-Deca-Pentathlon is an odd little movie about an odd family who reacts to situations in odd ways.

It’s a serviceable movie, nothing more but — also important — nothing less. And did we mention it has George Clooney and Brad Pitt?

Roach’s film may be light in places, even sugarcoated in others, but any reminder of the past and its impact on the future is a welcome one. Plus, we get a good Cranston performance in the bargain.

The Many Saints of Newark isn’t The Sopranos. But both literally and figuratively, it’s a start.

For the most part it works, both as a bizarre romance and a fanciful World War II almost-thriller. This is in large part thanks to the cast, particularly Christopher Plummer as Wilhelm.

Though it's a long ride, the movie is sure to please a patient audience with fans of political and historical dramas.

Allied is a decent movie, but frustrating — it should have been great, but never gets out of its own way long enough to be.

This breathless science-fiction thriller isn't just gory. It practically revels in graphic violence, with several scenes shot in excruciating slow motion.

Ultimately it's not the lives of the characters that need adjusting here. It's the story itself.

Scream is a confident movie that begs you to compare it to the other sequels in the slasher franchise, even daring you to mention it in the same breath as the original. Good. It should. Because it’s even better than the original “Scream,” which came out in 1996. Until the end.

“Lightyear” is an OK movie. Chris Evans as the voice of this version of Buzz is a nice touch. But there’s just no magic here.

Treading the same raunchy path as "Neighbors" and "Superbad," the contrast of child actors uttering obscenities and utilizing sex toys as weapons is a comical mix of one outrageous mess after another.

Even if the big thematic statements are less than subtle, the story is solid and thought-provoking, and the performances are just stylized enough to match the intensity of Norton’s deep-dive performance.

It’s all very competent, containing all the separate components we ask of period pieces and literary adaptations: great actors, dramatic staging, lush scenery, elaborate costuming. It looks as pretty as a tightly cinched corset, and leaves just as little room to breathe.

There isn't a cynical bone in this film's achingly sincere body. And it's not really a horror movie, unless the "horror" in question is the all-consuming awkwardness of young love.

Firth remains in low gear throughout his character’s transition from fuzzy dreamer to desperate schemer to mad transcendental poet. It takes a bit of voiceover to get the job done, but Firth’s steadfast refusal to chew scenery turns out to be the key to his performance

Caro's direction, Costner's performance and the winning cast, along with the shining of a sliver of light on the plight of field workers, however thin that sliver may be, combine to make McFarland a much better movie than it has any right to be.

None of the characters, save Ada, is interesting enough to sustain the creaky joints of the convention of the story mechanism.

Christopher Robin takes a classic story with characters people know and love and breathes new life into them, delivering an important reminder to balance life and all its qualities through strong symbolism.

Manipulative, overly sentimental, sometimes ludicrous and almost completely irresistible.

Wonder Woman 1984 director Patty Jenkins’ long-awaited sequel, is a much better film. It’s not that it’s lacking in chaos. (With a running time of 2 hours and 31 minutes, it's not lacking in much.) It just uses chaos more judiciously. That's fitting for a film about wretched excess, about getting what you want and realizing that maybe you were better off without it.

Scenes go on too long. Jokes outwear their welcome. The plot, though perfunctory (it’s no more complex or intriguing than the average hourlong television crime procedural), gets muddled. Even though McCarthy keeps the laughs coming, The Heat doesn’t really pack enough.

There is a staginess to the action that creates a certain distance between the film and viewers (an opening sequence almost feels like like you're watching a play). That's another Tarantino-style touch. However, you never feel too disconnected, thanks to the good work from the cast.

Machete is insanely violent, insanely over-the-top. It's pretty much flat-out insane.

Tomorrowland may not fully reach the heights for which it strives, but it has a good time trying.

Thus, despite being stuffed full of inventive, near-visionary visuals, “Three Thousand Years of Longing” winds up feeling a little incomplete. The story lacks the one thing the djinn promises: magic.

The hyperreal CGI animated Over the Moon is fun, visually stunning and poignant, even if there are spurts of aimless psychedelic chaos along the way.

At Middleton is an almost completely inauthentic little romance that is so genuinely pleasant you’ll enjoy it anyway.

The intentions are noble, but the film’s eagerness to honor Mandela instead shortchanges him. Mandela was a man who broke the mold; “Mandela” is a film content to nestle very neatly into it.

The bigger issue is that the film is more a slice of life than a real journey. It's an intriguing slice, but the real depth is in the performances, not the story. [18 Oct 2012]

Red isn't a great movie, but it's great fun, and if that sounds like damning with faint praise, you take things too seriously.

Goosebumps,”Rob Letterman’s film based on the R.L. Stine books (pretty much all of them), is silly, goofy, a little scary, a little poignant and a lot of fun.

It’s kind of funny, it’s kind of revealing, it’s kind of insightful as a glimpse into Hughes’ increasingly twisted mind, but it never adds up to more than the sum of its parts.

For the most part the film is an interesting, and occasionally fascinating, look at getting older and taking on responsibility.

There’s never a sense the filmmakers are preaching the gospel of legalization, although they are certainly not preaching against it, either.

As Kumaré plays out, both Gandhi and the film become something else, something much more thoughtful and moving. It is, as he puts it, the biggest lie he has ever told and the greatest truth he has ever known.

Moving On, a dark comedy written and directed by Paul Weitz, isn’t a great movie by any means, but it’s a pretty good one. It’s also a relief to see Fonda and Tomlin play women whose age is not discounted, but is also not disqualifying.