Statham probably isn't going to be doing Shakespeare anytime soon. But everybody ought to be good at something, and when it comes to this kind of thing, Statham is very good, indeed.

A scary fun-house ride that expertly blends jittery tension and laugh-out-loud humor.

This is grasping at something, or really at everything, everywhere, all the time. It feels like a bunch of unfinished ideas, despite the lengthy gestation period.

There's comfort food and there are comfort movies. In Lasse Hallstrom's The Hundred-Foot Journey, you get a full helping of both. And guess what? It's all very comforting.

There is the occasional cool visual and clever world-building detail, like jellyfish couture and eye-popping underwater physics, but Aquaman never fully commits to its lunacy.

To say Violent Night isn’t for everyone overstates the obvious. But if you’re looking for a bracing antidote to Hallmark Christmas movie treacle overload, it’s a holiday treat.

You can't get close to Bennett — not because he's a morally ambiguous character, as the movie would have you believe, but because he never puts anything on the table. He struts through every consequence, a man with nothing to lose because he never had anything worth losing in the first place.

There aren’t enough scares to keep you on edge in Mr. Harrigan’s Phone, but there’s enough else going on to keep you interested.

Logic devolves, cameos abound — there are two that are truly inspired, one of which involves legendary recasting — and lessons are learned.

There are some funny bits and a welcome shot of new blood, but there’s not a lot of overwhelming evidence for this movie’s need to exist.

The jokes only make up for the pedestrian plot for so long. There was a time when animated fare with generic stories sufficed. But now we expect more from them, because they have, pardon the pun, evolved. The Croods, like its title family, hasn’t.

The characters are clichés and the plot is assembly-line predictable.

As a film, it’s like science fiction, a visit to Planet Obscenely Wealthy. It is weirdly compelling.

Zwick can't seem to decide what the movie is - a refreshingly frank comedy about sex and commitment, or a more-serious look at illness and its effect on relationships.

The case is a gut punch to the American dream, and yet Little Pink House is a tepid viewing experience, in part because it rarely invites us into these homes so we can lament their loss.

The cast is uniformly outstanding, a pleasure to watch. It's a more toned-down role for the often-fiery McAvoy, and it suits him.

The LEGO Ninjago Movie is a worthwhile entry into this growing universe, expanding it but not really evolving it. It’s fun, but not especially memorable.

The First Time sets out to be the thinking kids' teen sex comedy but misses the mark by failing its characters. [18 Oct 2012]

I like the glitter. And I like The Prom in a general kind of way. It’s just not the show-stopper it might have been.

Despite minor hiccups, it really comes down to an entertaining time with no worries — er, "Hakuna Matata."

The animation is clean and colorful, and punchlines hit their mark with adults and children under director Chris Renaud's guidance for a second time. But they also heavily hit audiences with action from three loosely tied story lines, making many "meanwhile" breaks between stories. It is a movie for kids, after all.

Though it's certainly well-acted, the quiet film is a retread of familiar recent dramas about doomed heroines like in "Still Alice." But this version prompted me to look up one-way flights to Portugal instead of weeping about a character's looming destiny.

It's ultimately Parks who carries Tusk, and carries it farther than it should have gone.

Barber uses various stylistic devices - hand-held cameras, cellphone cameras, etc. - that make a somewhat slow story seem to move at a brisker pace.

Both Garrel and Martin are good. And it’s important to note that Hazanavicius is quite adept at the comedic bits, as well as at the occasional more-serious scenes, which deal with the disintegration of the marriage. The problem is his inability to merge the disparate tones.

It’s so ridiculously overstuffed it’s kind of fun. That extends to, or perhaps begins with, the look of the film. It’s rich, overripe, yet still kind of seedy.

You hate to see a good cast wasted, but when it comes to 5 Flights Up, the verdict is: no sale.

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.