If you are a stickler for movies that follow the laws of, say, physics, nature and common sense, The A-Team might not be for you. If, on the other hand, you get a kick out of exchanges like this - "Are they trying to shoot down that other drone?" "No. They're trying to fly that tank" - then you're in for a treat.

Helgeland has given us an impressive introduction to one of the most important men in U.S. history. But you can’t help wanting more.

This is not a movie for the squeamish. It may not be a movie for the non-squeamish either. But it is a movie for those who like to see directors take big swings, seemingly unconcerned if they whiff every now and then.

It's Moore who makes the movie worthwhile, who elevates it from disease-of-the-week fare to the role of a lifetime.

Liev Schreiber is outstanding as the title character, a big lug who can’t stay out of his own way.

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.

Most of the complexity in the film comes from its structure, as we go back and forth in time with Bloom. It’s an entertaining journey, especially if you like to listen.

It’s refreshing to see a satire, rather than an hours-long documentary, about a grifter. But, unlike Anna Sorokin and Theranos founder Elizabeth Holmes (her adaptation: “The Dropout,” also on Hulu), who’s been convicted of fraud, the resolution to “Not Okay” is not as absolute.

Jacobs, while making a fairly funny movie, does not settle for easy answers or melodrama.

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.

Much like "Ant-Man," it's a kind of pressure-relief valve, coasting on Paul Rudd's goofy charm. That's more on display than in the first film; returning director Peyton Reed manages not to shrink Rudd's appeal when he shrinks his character.

It’s predictable. It’s saccharine. It’s silly. It’s also, thanks to the consummate talents of Stamp and Redgrave, occasionally a joy.

Roth's tale is fairly twisty, as the behavior of the women grows increasingly violent and more outrageous. The two are not simply nut jobs; Roth presents them as a form of avenging angels who target philandering husbands. That's an interesting premise, but the movie lacks the depth or layers to make that truly compelling.

What it lacks is magic, or at least a decent amount of it.

Maria rounds out the trilogy of important women in the 20th century in consummate fashion. Lorraín sticks to his melodic style while highlighting an undeniable actress of our time, this time with Angelina Jolie.

The Wind succeeds on two fronts. First, the despair of isolation comes through on nearly every frame, a situation as dire as any demon. Secondly, Lizzy stays steadfast, refusing to succumb even as her husband disappears. That's a credit to the vision of Tammi, who refuses to let the The Wind devolve into a typical, and predictable, horror movie.

Neighbors is not the classic raunchy comedy it wants to be, but it certainly isn't for lack of trying. And when it's funny, it's really funny. Just not as often as one might hope.

Gerard Butler boasts an engaging screen presence that can make even junky movies fun. Maybe it’s the blustery swagger or his jokey attitude that essentially screams, “I’m not taking any of this too seriously.” Either way, it works, especially in Angel Has Fallen.

Director Jamie Payne keeps things moving, certainly, and the action is appropriately gruesome. But you can see where a little more time to tell the story would have helped.

It’s a fun movie, a nicely made Western in which bad guys get to be good guys sometimes. Maybe that should be enough, but you can’t help wanting more.

It's a gorgeously sterile film, fascinating to look at, sometimes painful to watch. The performances are outstanding; yet the actors, including Colin Farrell and Nicole Kidman, are toned down almost comically, often giving robotic line readings to empty bromides.

An unapologetic love letter to the popular board game. It's also almost - but not quite - something more.

This isn’t a great horror movie so much as a fun thrill ride. Bettinelli-Olpin and Gillett know just how to put Weaving’s talents to good use.

The payoffs are worth it — if you’ve got the stomach for them.

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

Alexander Payne has a lot of fun — and has some serious things to say — in Downsizing, a film that goes from fascinating to sometimes merely functional, but never truly loses its way.

Overall, Kill the Irishman is an entertaining look at a brutal time in an ugly place.

The beauty of Kurt Warner’s story is that it’s so unlikely it’s nearly impervious to clichés. The strength of American Underdog, Andrew and Jon Erwin’s film about Warner’s life in football and with his wife, Brenda, is that they realize this and let the story speak for itself.