The story, meanwhile, strains to be a masterpiece. And the strain shows.

There’s nothing in Thor: The Dark World that wasn’t done better in “Thor,” or a lot better in “The Avengers.” Except Tom Hiddleston’s performance as Loki.

Despite all its noble qualities, the movie boasts a stiffness that keeps it from ever feeling fully alive.

This won't be the best movie audiences will ever see, but at least it's fun to watch with pretty visuals and upbeat songs.

Doesn't attempt much, doesn't accomplish much, doesn't offer much and doesn't leave you with anything memorable to take home with you.

We’ve seen the elements that make up Paper Towns before, but that’s OK. Schreier proves adept at avoiding clichés, and is helped by his actors.

The story doesn't really have a focused plot.

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.

I guess I was charmed in spite of myself. I’m reminded of a quote from Alexander Pope I had to memorize as a kid, which gave me fair warning about the likes of Andrew Lloyd Webber and “Cats”: “Vice is a monster of so frightful mien / as to be hated needs but to be seen; / Yet seen too oft, familiar with her face, / We first endure, then pity, then embrace.” Did I tear up a little? Maybe. Do I ever need to see “Cats” again? Nah, I’m good.

This is Ferrell's movie, meaning some inspired laughs sandwiched between annoying bits that stretch on well past their usefulness.

The Conjuring 2 won't make anyone forget the first film, but it's good enough that you'll hope they make another.

Bill & Ted Face the Music is sweet and hopeful and, of course, kind of stupid, but that’s a big part of the point.

As reinventions of fairy tales go, this one has some pretty big holes. Not all of the twists on the story work, but for the most part it's well-meaning, goofy good fun.

Helped by good performances from Edgar Ramirez as Duran, Usher Raymond as Leonard and Robert De Niro as Duran’s trainer, Ray Arcel, the film chugs along well enough, but never rises close to boxing films like “Raging Bull” (few films do) or “Creed.”

Massaging the facts to pump up the drama is a necessary evil in a film like this, but The 33’s cinematic beats are so familiar that they undercut the sense of realism that would make it more compelling.

Eternals isn’t a bad movie. It’s just not a particularly satisfying one, its scale proving untamable, even for Zhao.

The Innocents, writer and director Eskil Vogt’s horror film about children with supernatural powers, is definitely difficult to watch, a brutal bit of business. But the thrills aren’t cheap — they’re hard earned, if you can call them thrills at all.

Looking for a movie to get you as far away from reality as possible? Watch The High Note.

Due Date should be a disaster, derivative of every road-trip movie you've ever seen. What prevents that are the efforts of the two stars.

Good for its uncommonly level-headed characters, less so for viewers watching a movie in which not much happens.

A jumbled, messy movie that has some winning moments but jumps around too much to hold your interest for long.

It's asked in the film, "How many new lives can we have?" The answer, it turns, is however many we want. And as long as Dench, Smith, Nighy and Imrie stick around, the same probably is true of "Marigold" movies.

It is all very respectful, all very serious, all very important-feeling and often a little dull. As such, it’s a good start for Portman, with promise of better things to come.

Britt-Marie Was Here succinctly crams in plenty of overwrought tropes but maintains a sentimental heart with its prickly heroine. Is it revolutionary? Not by any means. But is every journey of self-discovery supposed to be?

Ribisi has become the go-to guy for movie psychos, giving everything to performances like this one or as Moburg, the dissolute reporter in "The Rum Diary."

Sarah Burns steals scenes as a seemingly prim social worker, and Melissa McCarthy (Sookie on "The Gilmore Girls") does the same as a pushy neighbor. The supporting cast serves up enough small moments of surprise to keep this formula flick from falling flat.

Thanos is the most interesting, and most complex, character here.

Scream VI is a decent film with a transitional feel, a signal that you can take the show on the road and it still works. But it doesn’t leave you screaming for more.