Wants to scare you, but it can't quite seal the deal.

While Drive-Away Dolls is a literal journey, it doesn’t have the sense of reaching its destination in the same way…It’s not a road to nowhere — it’s better than that. But it’s also not the joy ride it could have been.

It's an uneven proposition, veering wildly from genuinely funny scenes directly into ridiculousness and back again. But every time Shawn Levy's movie makes that journey, it's harder to get back on solid footing.

There are many things to enjoy — a cat named Small Frank is up there pretty high for me, as is Pfeiffer’s performance. But it snows you under with a small army of quirky characters and situations.

It almost works. Actually, it does work, hitting the requisite number of hip notes. It just doesn’t dazzle, and that’s kind of a surprise.

The Minions themselves aren't as endearing as they are in the previous movies, maybe because there are fewer of them bumbling around, or maybe because they just haven't found their true supervillain love yet. Or maybe some sidekicks, no matter how loveable, just aren't cartoon-hero material

There's a little "Kramer vs. Kramer" here, a dash of "Transformers" there, and it's all topped with big heap of "Rocky." But it's hard to argue with the results, because, at times, Real Steal is close to a knockout.

Steadman is great fodder for a documentary, as he has continued to produce his signature works. But if you're going to make a movie about Ralph Steadman, make it about Ralph Steadman.

There are a couple of intriguing ideas floating around here and there, but that's all they do - float around, unmoored by any sense of reality and, thus, suspense.

You also get drinking. Lots and lots of drinking. By the time the movie is half over, you'll feel hungover.

True enough, she's trying to do the right thing. But she never quite gets there. And that gets old, making "Ramona" wear out its welcome long before it should have.

Taking the bad-cop genre to the extreme, Filth lives up to its title and then some, but a no-holds performance by James McAvoy is reason enough to watch.

Damon's portrayal is perfectly understated yet powerful. It's also sneaky; you don't realize how invested you've become in it until the final act, when the characters' stories merge in what seems like too much of a rushed coincidence.

Like the first film, The Croods: A New Age is a pleasant enough movie. It may not make you forget the original, but only because you probably already had.

Fans of the “Fast and Furious” franchise are sure to enjoy the latest model.

Jolie's performance so overshadows the rest of the cast (and the rest of the movie) that you sometimes feel as if the other characters are, like us, just standing around watching her. This is not, however, the fault of the other actors. It's the fault of screenwriter Linda Woolverton, who doesn't give them much to do that's challenging or interesting.

Most of all I enjoyed watching Bale and Melling together. Poe wants to impress Landor, who after all is a famous detective, but he just can’t help himself.

[Pacino] and Green sometimes overplay their hand. That is, overplay the underplaying, which sounds patently ridiculous but is the exact description warranted here.

There’s a prayer repeated throughout the film: “blessed be the goddess of all worlds that has not made me a man.” Well, blessed be the goddess of all worlds that has let me survive this film.

The Man Who Knew Infinity is a good movie about a great subject, but one that should have been bett

Although it's enjoyable, actor Chris Messina's directorial debut is somehow less than the sum of its parts, wading only through the shallow end of familiar human conflicts resolved too conveniently to satisfy.

It's outstanding work (Carell). It's also a really funny movie.

Dominik Moll downplays the overtly scandalous nature of the story, at least for a while, with a leisurely pace heavy on imagery. He’s made a beautiful-looking film that portends disaster. And disaster arrives, eventually. It just takes its time getting there.

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.

The movie is content to simply mimic the old Stooges, bringing nothing new to the table.

What ultimately waters down a movie like Touchback, aside from a really sappy ending, is that we know the answers going in.

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.

Both the film and television project were directed by Martin Campbell. He creates a nice level of tension throughout, and there are a couple of legitimate shocks (including one jaw-dropper).