If Sick isn’t a great COVID-inspired horror film, at least it’s a start.

The singing is terrific, particularly whenever Hudson belts out a number (and there is really no other way to describe her powerhouse vocals). But the story is trite and predictable, if heartfelt.

It's not a top-shelf Apatow production, and by the end, it's obvious Wanderlust was a lot more fun to make than it is to watch.

There are a few big laughs, but there are also long stretches in which nothing funny happens.

Madagascar 3 has a problem: It rarely slows down enough to let us really enjoy it.

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.

It’s a weird film all the way around.

Sure, these roles aren't exactly a stretch, with Duvall being crotchety and Downey being sharp-witted. But that familiarity is part of the appeal. They're good at this. Really good. After all, as has been noted, they're not movie stars for nothing.

The film does not have the courage of the book, which felt no need to tie a nice pretty bow on everything. But it's fun enough for a good while (it's only 81 minutes long), and that's enough.

Grunberg and Boyar have a charming, if broad, chemistry. It’s all kind of cheesy, of course, but it’s meant to be. And the effects, when not deliberately silly, aren’t bad.

Props to Bad Milo for its fearlessly pulp approach in exploring well-worn characters and their ho-hum dilemmas, but you know you’ve got a dull story on your hands when not even a butt monster can jazz it up enough.

Though the stories explored in Bombshell are explosive, the film's uneven pace makes them merely sizzle like reading a news brief instead of an illustrative Vanity Fair profile.

The film soldiers on through a couple of possible endings, and if its real destination is never truly in doubt, Mbatha-Raw makes the trip interesting.

It would benefit greatly from having real actors in the major roles. That the bad guys -- who are actors -- are more charismatic is certainly not due to the fact that we are on their side. It's because they know how to make us want to watch.

Uplifting, it's not. But Low Down is a worthwhile look at a deeply flawed man, his daughter, and the unusual bond that existed between them.

Napoleon isn’t a failure on anyone’s part. But it’s not a rousing success, either. It’s not really a rousing anything, which is the problem. Maybe Scott should have gone in even more on Phoenix’s quirks and mannerisms, which are the most purely entertaining things about the film. Whatever the case, it doesn’t quite measure up.

Just when you're ready to throw in the towel, Plummer does something that keeps you going; maybe it's the quietly affecting way Jack turns up the twinkly charm as age and illness are starting to take things away. Then there's Farmiga's ability to mine a laugh out of angst and yet remain human, and MacDougall's sly, sleepy charm.

It doesn’t help that Barrymore and Collette don’t have much chemistry for best friends forever, but Collette’s work is so compulsively watchable that Miss You Already is worth a watch for that reason alone. And precious few others.

Although there are moments of humor in the film, many of them supplied by the delightful Jones, there are also long stretches of, um . . . "blah" might be the best word for it.

Shown in flashbacks, the story of 10-year-old Sarah Starzynski is powerful, thanks in large part to the luminous screen presence of young Mélusine Mayance.

Hanks’ winning performance covers a lot of holes, but not all of them.

It's definitely a family-friendly film, but some of the slower moments might bore kids. More importantly: There isn't anything astoundingly different about this film. It's about a dog, and it's absolutely cute and sweet. It's also predictably heartwarming and it offers nothing new.

In the end, this may be a case of a pop-culture icon being dragged down by the weight of trying remain relevant past its prime. It’s not woke, but you can’t call it racist. Maybe racist-ish. Misogynistic-ish. Entertaining-ish.

The film’s intentions are noble enough, but its story doesn’t always live up to them.

The Green Hornet, which strives to be a different take on the superhero genre, is an interesting film - until it devolves into abject stupidity.

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.

A Little Help is worth watching, mostly for Fischer.

It’s more serviceable than inspired, but “Dark Fate” gets by on nostalgia. It’s just nice to see Schwarzenegger and Hamilton together again.