It’s an assured debut from a rising star that nails tone and pace. It would be a solid summer thriller were it not grossly undermined by its astonishingly regressive treatment of its leading lady.

The intentions are solid here, but the execution is not... But the actors are compelling, and the issue is, of course, always worth discussion. It's not a great movie, but, if nothing else, Frontera is worthwhile on those fronts.

Despite his roots as an over-the-top stand-up comedian, Williams long ago proved himself to be one of those rare actors who can truly inhabit a role, and “Boulevard” is no exception. But that’s not always enough to keep the viewer’s eyes glued to the screen.

Allied is a decent movie, but frustrating — it should have been great, but never gets out of its own way long enough to be.

It's an interesting idea that loses steam as it gains gore. The development of the story is much better than the payoff. It's fun while it lasts.

Director Dome Karukoski guides the actors well with a perfectly British script containing dry, witty humor. However, the movie leaves one longing for a little more.

It wants to be oh-so-serious, and it never lets us forget how hard it’s trying.

It offers Bratt maybe his best role ever as Che, a tough-guy neighborhood personality struggling to come to grips with his son's homosexuality.

The film really pops to life only when it gets a little messy, and it's never messier than when it loses itself in family dynamics.

Forget Team Edward vs. Team Jacob. I'm backing Team David, as in David Slade, the director who has finally managed to breathe some life into the "Twilight" series, heretofore a deadly dull undead undertaking.

Once the twist becomes apparent, the film stops being scary and you stop caring about Sarah, despite Olsen's graceful performance. It's a shame. If the film stayed on track, it might have been come close to being a classic. As it is now, it's a huge missed opportunity.

The Woman isn't simply a gore-fest. It's just mostly a gore-fest, with a little more going on, as well.

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.

Pacino and his director don't get back to basics — given that Pacino plays the title character, an aging rock star who long ago sold out, that wouldn't make sense. But the actor brings such a charming attitude to the role that his performance feels far more genuine than the story itself.

It’s a fascinating story with particular contemporary relevance. And it should be better.

The script feels not half-finished, but maybe three-quarters. Lawrence does what she can to make up the missing 25 percent, but even she can’t perform miracles.

Should you see it? Sure. The absolutely absurd, over-the-top Vegas chase scene assures you’ll get your money’s worth in ridiculousness. (Not all of Greengrass’ set pieces are smart.) But in truth, you’ll be there because it’s a Bourne movie, and you’ll like it a little better than you should because it is.

Nicolai Fuglsig’s film does a nice job of capturing the fish-out-of-water nature of the American combatants. Chris Hemsworth is suitably heroic and Michael Shannon suitably intense. But if this movie was the only context you had for the U.S. response to the 9/11 attacks, you’d walk out of the theater thinking that we won a quick war without suffering any casualties, that American gusto and bravery saved the day.

There's a welcome lack of pretension to the proceedings. Stalwarts like Hurt and Ian McShane are on hand to class up the joint — everyone's got a British accent except for Johnson — while the predictable story bludgeons its way towards an inevitable conclusion.

The actors are having fun here and, for a while, so will the audience. But the payoff just isn’t there. It’s not-a-stake-through-the-heart disappointment, but the only eternal life Renfield will enjoy is in late-night channel surfing.

Kidman and Firth both deliver compelling performances, although this kind of plot-driven fare is no real challenge to their considerable acting talents.

It’s fun enough in places, outrageous (in mostly a good way) in others. Ultimately, however, the plot falters enough that it’s more like a two-hour audition for Great Actress. Chastain passes with flying colors, even if the movie doesn’t.

The film is interesting and at times enlightening, but it's all over the map.

A too-good Gru is a boring Gru. No matter how much you crank up the adorability factor or offer up the occasional laugh, there is no getting around that.

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.

This trip isn’t so notable. It’s not bad. Some bits are enjoyable. But ultimately, other than some genuinely impressive visuals, it never makes a compelling-enough case to justify its existence.

Hafstrom creates a nice, creepy vibe, especially for the first part of the movie, which has a menacing atmosphere. Too bad he doesn't sustain it.

Despite the heavy themes, "100-Year-Old Man" keeps the tone light. It is a comedy, after all. The laugh-o-meter needle hovers fairly consistently on "amused grin."