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

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.

It’s a sobering reminder, during the rise of the Black Lives Matter movement, how undervalued Black lives have been, and for so long, in this country.

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.

After a predictable opening hour, Paradise Lost manages to deliver a surprise or two as it switches gears into a full-on thriller. But it never gets close to the epic heights to which it aspires.

Despite predictability, flashback hopping and cheesy lines, Adrift takes viewers on a trip through beautiful cinematography and gut-wrenching performances that are worth seeing.

Where In the Land of Blood and Honey falls short, then, is in the story itself. Too many coincidences and, ultimately, too narrow a focus. But it is a genuinely noble effort, a worthy attempt to make some sense of the inexplicable.

It's a smart, well-crafted tale that is thoroughly contemporary, yet somewhat old-school in that it doesn't go for cheap shocks. Instead, the emphasis is on mood, atmosphere and some sharply etched characterizations.

Monster is a good movie that could have been a better one. Mandler needs to trust both his film and his audience more. Give him points for trying, but he’s just trying too hard.

The biggest problem is the whiplash-inducing tonal shifts. Director Jeff Tomsic, working from a script by Mark Steilen and Rob McKittrick, swings from violent slapstick to tender moments in slapdash fashion. You can’t get a handle on it, though maybe that’s fitting in a movie about trying to keep from being tagged.

It's all very pleasant, very inspiring, just not very surprising.

It's a little too obvious -- interesting, sometimes kind of fun but, ultimately, not as satisfying as it might have been.

For every crisis there’s a line of homespun wisdom, in every failure a universal lesson to impart. The film highlights each symbol, making explicit that which would be stronger left implicit, until Rex’s glass castle becomes an overbearing metaphor.

If you’re a literature junkie, and I cringe at typing the phrase because it sounds so quaint in a world of 140-character expressions of self, then the film has its fascinating moments. The performances aren’t really among them.

A lot of fun for horror fans, a nice little jaunt through paranoia and conspiracy theories.

There’s a lot to be angry about. And though Rosebraugh shines a light on plenty of jaw-dropping corruption, it plays out like a shrill rallying cry without catharsis for the already initiated.

Overall, Radioactive is a fitting tribute that is not entirely glowing (outside of the bottle of radium Curie takes to bed every night), but rather an honest and touching depiction of one of the finest scientists to ever live.

The ambitious visual stylings don’t do enough to buoy a film that lacks a certain soaring spirit. If the adaptation is serviceable, it’s also dull — a disappointing fate for a story that’s anything but.

It’s engaging at times and wonderful to look at, but feels like it’s on the cusp of something bigger. But whatever that bigger thing is, it never arrives.

There’s a danger in critiquing the movie you wish a director had made instead of the one they did, but in this case, Heller did make a horror film and then backed off from the horror aspects.

Superfans of the entire Marvel universe will find this film filled with top-notch comedy and action, Easter eggs, cameos that left the audience gasping and cheering, a lot of meta jokes and digs at 20th Century Fox...It's the perfect way to wrap up the "Deadpool" franchise for good.

A mean-spirited little movie, investing its limited charms in all the wrong characters.

Although it brings nothing new to the con-artist fold, or even anything thrilling, Focus is a seductive enough rehash that benefits from the built-in pleasures of the trade.

Two narcissists do not a couple make, and without any actual relationship, there really isn't a movie.

We’ve seen the elements that make up Paper Towns before, but that’s OK. Schreier proves adept at avoiding clichés, and is helped by his actors.

Some new elements do work . . . But Hocus Pocus 2’s best parts are familiar and beloved to fans of the original movie.

Really, the movie is the third cheeseburger, the fourth beer, the fifth ice-cream sandwich. It’s gluttony, which is kind of enjoyable when you’re in the middle of committing it but leaves you feeling sluggish and remorseful later when you’ve had time to think about it.

There’s no rescuing Non-Stop from its own worse impulses. The likable Neeson’s implausible second act as an action star continues, but not in a believable direction.