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.