What raises it a notch above the typical slick Hollywood romances are its stars, Ludivine Sagnier and Nicolas Bedos.

It’s kind of funny, it’s kind of revealing, it’s kind of insightful as a glimpse into Hughes’ increasingly twisted mind, but it never adds up to more than the sum of its parts.

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

American Reunion depends more on the audience's feelings for recognizable characters than telling an original story, so adjust your expectations accordingly.

The zombification of Austen’s material is frequently funny and sometimes clever, but the film stumbles hard when it loses sight of just how ridiculous it is.

The intentions are noble, but the film’s eagerness to honor Mandela instead shortchanges him. Mandela was a man who broke the mold; “Mandela” is a film content to nestle very neatly into it.

You come to this movie hoping that Johnson and Hart make you laugh. Sometimes they do. Sometimes they don’t. The hit-to-miss ratio is higher than you might expect, and both actors could accurately be described as pleasant, if not especially creative.

Bright Days Ahead offers an interesting twist on the May-December romance.

Paint is one of those good ideas that doesn’t quite make a good movie. Until it does.

In spite of the compelling raw material in the lives of its ostensible subjects, it strikes out as an act of storytelling.

The Intern is idiotic, unrealistic, Boomer wish fulfillment that has no business working on any level. I quite enjoyed it.

17 Girls doesn't try to explain its many mysteries. That would have made for a better film, but this one does a nice job showing its effects.

Scott Frank's atmospheric thriller is a step up from Neeson's usual shoot-'em-ups. Not a giant leap, but a step up nonetheless.

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.

There’s a story within a story here, one more compelling and relatable than the other. Perhaps that’s by design. But even if that’s the case, it doesn’t mean the two parts co-exist comfortably, no matter what the intent.

It has a serviceable, conventional approach that summarizes the extraordinary achievements of a remarkable woman but offers little more than predictable and inspirational Pinterest-quote fare that would have been better suited for an HBO TV movie.

It’s as if Boyle is saying he isn’t afraid to visit the past. And he does it about as successfully as one could — T2 is a movie worth seeing and enjoying if you’ve seen the first film (less so if you haven’t). What he’s not as successful at is telling us why.

It’s a jumbled, intriguing, inconsistent mess — and yes, it is uncomfortable by design.

Ornamented heavily with creative visual pleasures, the film is bogged down, not just by weighty thematic issues — death, divorce, bullying, unfairness — but by professions of its own grandeur.

I like movies like “Rosario” — creepy little horror films with enough scares to keep you on edge and enough of a story to keep you invested.

Annie has never been the most sophisticated of children's stories. The latest version is formulaic and predictable, but it has its charms, not the least of which is Wallis' easy smile and sassy screen presence.

Green Book is not unthoughtful in its crowd-pleasing. It’s just that such crowd-pleasing feels inappropriately quaint for 2018.

If anything, Carnage does too little to adapt to the new medium, and the result is a film that makes its audience feel as trapped as its characters.

As far as missteps go, Prince Avalanche is at least an interesting one, which is better than Green has done in awhile.

Nothing fresh is being brought to the table, but it's a sufficient bit of fun for anyone who longs for the days of Brosnan's spy swagger.

Eleanor the Great ties all the loose ends up in a neat bow, with the forgiveness of Eleanor. It's one of the types of movies that you'll watch once and not think about again.

It doesn’t offer anything new to the genre, but chugs along pretty well until the plot holes begin to pile up.

Of course with this kind of film, not every joke lands. You’re hoping for a good proportion — more hits than misses. The ratio isn’t quite as high as you’d like with The Binge, but it’s close enough.