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.