One is left wanting to know more about Mr. Rogers, but the film reduces him to little more than a kind of superhero family therapist.

Between Valkyrie ruling New Asgard and Jane Foster vanquishing shadow monsters as Mighty Thor, it seems early on as if the women would lead the way in “Love and Thunder.” It helps that, throughout, Thor is more often than not the butt of the joke.

Fichtner is always good; just trying to sort out his accent here is kind of fun. Plotnick is the key, however. He plays it straight, even as the world around him grows weirder by the minute. Often he seems confused by the proceedings, which is fitting: Join the club, pal. But we’re having a better time of it than he is.

It’s not going to make you forget “Snow White and the Seven Dwarfs” or “Bambi” or “Frozen” or “Tangled,” but elements of it might remind you of them. Which is by design.

Jason Schwartzman has become, without question, the go-to actor when you want a character with off-putting, even annoying traits, yet need to have the audience side with him just enough not to want to strangle him.

Emancipation, Antoine Fuqua’s well-meaning and graphic depiction of an enslaved man who escapes in search of Lincoln’s army and freedom for himself and his family, is a mostly affecting, no-holds-barred look at degradation, inhumanity and, ultimately, inspiration. But at times — too many times — Emancipation also plays like an action-adventure movie.

The Dark Divide will win over nature lovers with stunning visuals and an overarching message about the importance of conserving our unpredictable planet and relishing the beauty of exploring it.

Clearly set up to be the first film in a franchise. It's not a bad movie, but I wouldn't hold my breath for that.

While it is a perfectly serviceable placeholder in the larger series, its contributions to the Potterverse are disappointingly minor.

There’s something about a lot of the film as a whole that makes it feel as if Lanthimos is trying a little too hard.

The film, directed and co-written by Kevin Reynolds ("Fandango," um, "Waterworld"), is a nice-enough telling of the Resurrection of Jesus, which at times seems like it also wants to be a Very Special Episode of "CSI: Jerusalem." It's well-made and well-acted.

The camerawork makes Mond's film lovely to look at. But whether you want to spend time with James White depends on your tolerance for yet another film about how hard it is for guys who just feel too much.

Just Go with It provides not only the title of the film but a one-step instruction for how best to enjoy it.

Smith’s performance, in which he resists the urge to go over the top, and the subject matter make Concussion an interesting movie, but not the urgent one it could have been.

It just sort of chugs along in predictable fashion, bolstered by a couple of good performances here, thrown off-track every now and then by implausible or unearned developments there, but overall a decent effort.

Juror #2 isn’t quite forgettable, but it’s also not the movie we’ll remember Eastwood for.

The Commuter doesn’t stand above or below most of Neeson’s action-hero fare. But you dependably get what you pay for.

Where does creativity come from? And how do the lucky few who are touched by it make it last? Can they? Touched with Fire isn't a perfect study of the question, and it can't really provide a complete answer, probably because there isn't one. But thanks to Holmes and Kirby, it at least asks in a compelling way.

Jack Ryan: Shadow Recruit is a well-made movie, well-acted (Costner and Branagh seem to be having an especially good time) and a pleasant diversion. They’ll probably make several more. But it doesn’t exactly put the “thrill” in action thriller.

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.

In the final minutes, the characters make several choices that defy logic, leaving the audience to wonder what happened to the savvy operators presented in the early parts of the film.

Tel Aviv on Fire, like the soap opera that shares its name, doesn't attempt to grapple with the complexities of the conflict. "Is there nothing between bombs and surrender?" it asks, pleading for moderation. Moderation gets you a pleasant-enough comedy. But not much more.

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.

I like the glitter. And I like The Prom in a general kind of way. It’s just not the show-stopper it might have been.

Not just an enjoyable story to watch but an educational look into hidden history that seeks to show its never a good idea to paint anyone with a broad brush.

The script makes the characters a little too witty and spot-on with cultural references, but what makes it work, to the extent that it does, is the innate liability of Sudeikis and Brie.

Kong: Skull Island is one of those movies best described as big, dumb fun.

No one wants to live in the past, but in The Peanuts Movie, the old stuff still stands up, while the new story is just flimsy glue holding the classic bits in place.