It may be haphazard and loosely focused. But thanks to Skarsgård it’s never really boring.

The Night Before wants to make you laugh and cry, but it doesn’t give us enough opportunities to do enough of either.

Writer and director Drew Pearce makes his feature debut in a confused, jumbled film that never quite gets its story straight.

Because the film is unable to settle on a tone, it's hard to get invested in much of anything.

The story of how Moore made the movie is ultimately more interesting than the film he’s put together. It’s not for lack of trying. It’s more a lack of a cogent story.

Damon can elevate just about anything in which he appears.

The film is not without its flaws, but the story it tells is both terrifying and inspiring.

Uplifting, it's not. But Low Down is a worthwhile look at a deeply flawed man, his daughter, and the unusual bond that existed between them.

Though there are no blazing historical insights here, the film is filled with moments of ribald humor and tender poignancy that offer glimpses into a society divided by class but united, mostly, in an outpouring of sheer, overwhelming relief.

Asher can move slowly at times, kind of like its main character, but you find yourself rooting for the old guy. You’ll want to stick around to find out if he makes it to the retirement home for hitmen.

Indiana Jones and the Dial of Destiny is ultimately an OK entry in a legendary franchise. It’s fun enough, but why bother?

Grande and Erivo bring that relationship to life, making “Wicked: For Good” more emotional than you’d expect. These are two really good actors whose investments in what could have been let’s-put-on-a-show theater-kid performances go much deeper.

On the surface, the story might feel rote. But Pixar’s crew has returned to what it does best: Exposing the deepest feelings of the heart under the guise of everyday emotions. Ember and Wade’s relationship is both "Romeo and Juliet," but also the story of many immigrant families.

While the movie does have some of the twists and turns audience members want in a thriller, they're all sluggishly drawn out.

Some of the imagery is memorable, in a twisted-horror kind of way. Zombie has no trouble scaring up atmosphere. But other scenes are ridiculous, unintentionally funny, particularly one he builds up to ominously, only to give us a silly payoff.

Quirky, funny and a little claustrophobic (by design), it’s confident enough in what it’s trying to accomplish to take the chance on the title. And what he’s trying to accomplish is ambitious.

Daybreakers isn't a great film, but it's a good one, and in a market oddly lousy with vampire tales, it's an original.

You just have to hope for some fun along the way. The movie delivers that every now and then, but not nearly enough. Bigger! Dumber! Something! I’d settle for just better.

It's bold, nasty and gleefully disturbing, and will stay with you once the lights go up. For horror fans, those are all good things.

It’s not that this slight, good-natured comedy is going to set the world on fire. But the movie boasts an understated sweetness, largely fueled by Camil’s movie-star charms.

A celebration of sci-fi flicks, fanboys and good, old-fashioned bromance, Paul is a thoroughly enjoyable road trip.

Cash was the star, after all. Saul Holiff was an important part of that, but My Father and the Man in Black makes a rather clunky case for it.

It’s a good movie about great heroism, and you wish it was more.

It’s such a fine line between stupid and clever, a couple of not-so-wise men said a long time ago — and in a better movie.

The reason to see it is the humanity the outstanding cast brings to the film. The emotions these people feel, the moments of grief, of anger, of love and of clarity they experience, feel both real and recognizable.

As the film comes to an end, more and more of "Blood Simple" is translated directly to China, even to the last drop.

The film is often moving, and some of the performances have a depth and naturalness. But it moves at a pace that can be maddeningly slow and is often long-winded, two traits that stop the momentum dead at times.

There are plenty of reasons not to like The Intouchables, but Omar Sy's terrific performance blows right past them.