Memory is a good-enough movie that could have been a lot better. Neeson is to thank for most of the good. Turns out he, like his characters, does have a particular set of skills. They involve acting.

Just good enough to pique your curiosity, but never quite good enough to captivate.

It's sometimes compelling, sometimes frustrating, and usually chaotic.

Brand ultimately can't make a watered-down Arthur as sweetly charming as the original, but he certainly makes it better than it would have been otherwise.

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

Thanks to Highmore's performance, George is worth sticking around for - and thanks almost exclusively to Highmore and Roberts, so is The Art of Getting By.

It’s good, it’s intriguing, but in the end it’s nothing to howl about.

There is so much to enjoy about Encanto — the songs, the gorgeous animation, the cultural traditions. All of which make the script’s serious shortcomings all the more surprising and disappointing.

It adds up to a marginally more interesting experience than the first “Frozen,” but this sequel would have benefited from venturing a touch further into the unknown.

Where the film falters a bit is with the story. The final act is reminiscent of any of your garden-variety sci-fi adventure movies, which is a jolt after we’ve spent the rest of the movie watching these two figure each other out and try to make peace with their situation.

Song One is an odd little movie. It seems as if there is more going on than there is, which you realize after it's over. As pleasant diversions in the moment go, however, you could do much worse.

It's also a head-scratcher: How did a movie this stubbornly old-fashioned ever get made by such a trendy French director as Francois Ozon.

It's not a fascinating (or even particularly interesting) character study — the film never lets you get close enough to its leading man to understand his damage — but it's nevertheless an intermittently moving one.

McKenzie and Taylor-Joy are both affecting as two sides of not-quite-the-same coin. Their performances are the best thing about the film, which is good — but not as good as it might have been.

Scenes go on too long. Jokes outwear their welcome. The plot, though perfunctory (it’s no more complex or intriguing than the average hourlong television crime procedural), gets muddled. Even though McCarthy keeps the laughs coming, The Heat doesn’t really pack enough.

It’s mostly a biography of Holiday — nothing wrong with that, certainly when you’ve got a performance as stunning as Andra Day’s in the title role.

It’s all insanely violent and gleefully silly. Stab wounds and bullet holes just don’t slow some people down the way you think they might. Through it all the best part of the film remains the dichotomy of a bland wimp (a character Odenkirk plays so well) who can flip the switch to becoming a remorseless killer — and seeing Odenkirk as the one flipping the switch.

It’s cute and entertaining, in a Saturday morning cartoon kind of way, but this one is just for the kiddies.

Good in spots, overall Cage is fine. Nothing more, nothing less. Kind of like Seeking Justice.

As much as Swinton Byrne and Burke add lived-in qualities to their characters, there's really not much to like about the leads or their toxic relationship that unravels at a mind-numbing pace.

The story is just so downright weird that the film can't help but be compelling. Just not as compelling as it could have been.

There is something to be said for giving people what they want, but there are no surprises in Randy Brown's script, and Lorenz plays it safe. It's feel-good stuff; you wonder what Eastwood, a terrific director, might have done with it behind the camera.

It’s got a great beat and you can dance to it (or Jackman, Efron and the rest can, anyway). And Barnum would have loved it.

It's hard to know whether to take it to task as a film critic or as a dance critic. It isn't that it fails on either level - it's a serviceable movie - but it neither attempts nor achieves much of value.

There are no surprises here, just a by-the-numbers comedy that's better, and funnier, than it has a right to be, thanks to the efforts of the actors in it.

Song to Song isn’t the sleepy disappointment Malick’s last two films were, but it’s hard not to wish he’d wake up.

It has a great voice cast, a kinda-sorta interesting premise and the 3-D is effective, but somehow it just doesn't add up.

The Void is a horror film that goes off the rails — not by accident, but on purpose. And not just a little. It’s gloriously off the rails, unhinged, absolutely bonkers.