A beautifully made, glorious mess.

It is a harrowing journey, and an inspirational one. But, as director, Jolie takes far too long to tell it, particularly in such a conventional manner.

The Shallows is pretty much a woman stranded on a rock, with a big shark between her and the shore. “We’re gonna need a bigger boat?” “We’re gonna need a smaller bikini,” more like.

One reason the movie works so well: Writer-director Malcolm D. Lee returns from the original, so the characters feel true to the first film. Secondly, most of the cast is back, and they have the kind of comfortable chemistry you can’t fake. It’s easy to believe these people have a history together.

An epic film about Algeria's fight for liberation from France, with three outstanding performances and a grand, sweeping feel.

You can't help leaving the film with the following thought: Man, it's good to see Murphy being funny again.

Shown in flashbacks, the story of 10-year-old Sarah Starzynski is powerful, thanks in large part to the luminous screen presence of young Mélusine Mayance.

Even though Five Armies is the shortest Hobbit movie, it also is the least thrilling as it chugs toward the finish line weighted down with all the added characters and confusing subplots that have been tacked on along the way.

How do you make a legend as imposing as Shakespeare flesh? All Is True suggests you can't, if not even Branagh, Dench, McKellen, et al. can bring him down to earth. Maybe it's for the best that the real man is unknowable, that man is simply the work itself.

The film is leisurely paced, as many French films are, and not much actually happens, but as a character study, it feels true, and ultimately moving.

Wasikowska is outstanding. She’s got the most-interesting character arc, and she plays Judy at all stages of the story with a genuineness that never wavers, whether it’s as the quiet, put-upon secret weapon of the puppet show or the woman she becomes, which is something far from where she begins.

Picks up where the first film left off, literally, and offers at least as many laughs (if not more for adults), retaining the goofy attitude. Cameron and Pearn throw a lot at the wall, just like their predecessors, and most of it sticks.

A decidedly dumb entry in the titan saga that’s still kind of fun.

It’s too straightforward, at least in terms of what we’ve come to expect from Sayles.

Lawrence delivers a performance that’s long overdue. She finally gets an opportunity to show off her comedic chops and her biting humor and executes it with years of dramatic acting in her bag. She is brash yet warm, making this character extremely believable.

When it’s good, Doctor Sleep is mighty good.

It is flawed but ultimately captivating.

Rob Minkoff’s film has the generic feel of a kids’ movie that’s trying to please everyone. It’s not horrible. In fact, it’s agreeable enough. But nothing more.

Scafaria gives her characters and the situation an absurdist tone that makes the whole concept a little more palatable.

The movie boasts a tricky structure, but director Jonathan Teplitzky ("Burning Man") does an expert job of sewing together the World War II moments with sequences set in the '80s.

Sing is like an album with a good song here and there, but too much filler and not enough hits

It has a serviceable, conventional approach that summarizes the extraordinary achievements of a remarkable woman but offers little more than predictable and inspirational Pinterest-quote fare that would have been better suited for an HBO TV movie.

In Run All Night, Neeson gives us more of the same, although with Collet-Serra's assistance, it's dressed up in a more interesting package.

The film could merely coast on the charms of its three stars, but it's smarter and brighter than you'd expect.

It's a weird movie. In a good way.

Todd Strauss-Schulson’s meta send-up of ’80s sex-equals-death slasher movies keeps its goofy good humor throughout, and tosses in a little almost-genuine feeling into the mix for good measure.

Cars 3 doesn’t have enough velocity to escape that lesser tier. It does, however, offer a course correction for the franchise with a kinetic and emotionally resonant sports film that’s big on character – and blessedly light on Mater.

The charms of the leading ladies are hard to resist, as are their rare moments of clarity and self-awareness. Saunders is a tumbledown hoot while Lumley can generate a laugh with simply a deadpan stare, yet both seem a tad more human this time around. Just a tad.