The rest of the cast is fine, actually, but Rudd spares nothing in making Ned a lovable loser, with the emphasis on "loser."

It’s a mix of good films that could have been a single outstanding one.

Although Johnson performs admirably in the drama-heavy role — far better than many of his action-hero colleagues would manage — John Matthews is a character as boring as his name.

The film itself begins to feel like Gray, a pretty bird in a gilded cage with nowhere to fly.

Despite the silly-sounding premise, it's a wistful, bittersweet meditation on aging and death.

With “Maleficent’s” feminist message suffering a relapse, the sequel looks more like generic film fantasy than a fresh take on an old story. The cuddly creatures and razzle-dazzle action are enough to make two hours disappear, but it’s only Jolie’s bat-winged charisma that will rattle on in your memory.

The Zero Theorem feels like Gilliam's keen intellect chasing its own tail.

A stripped-down affair, from title to characters to plot. It never strives to be more, instead concentrating on making the most of its self-imposed limitations.

You know what you’re getting when you walk into this film. And it delivers exactly that. Lots of gunfights, ridiculous stunts (with some killer drone camera work), and just enough emotional pull to give this movie some substance — although not much.

What grates is the lack of attention to details. There is a grating sloppiness to much of The Choice, both narratively and stylistically.

The elements are in place for a decent little movie, but Loach overplays everything, offering nothing in the way of surprises. Bobby’s supposed transformation isn’t particularly revelatory, but then, neither is anything else.

Dumb fun can be, well, fun. G.I. Joe: Retaliation is way too much of the former and not nearly enough of the latter.

In the movie version at least, efforts to render the hero larger than life result in a story that is less than convincing.

The elements of a good story are here, and the talent to tell it is more than willing. The movie just never quite gets there.

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.

It's a noble attempt at meaningful comedy-drama, but Braff struggles with shifting tones while mismanaging his own character. It's easier to appreciate the effort than it is to enjoy the film.

There is a really cool idea at the heart of the film, which brings together the cast of the original “Jurassic Park” movies and the cast of the latest bunch from the “Jurassic World” ones for the first time. Although they’re kind of like guests staying in different parts of the same hotel who just happen to run into each other at dinner.

You certainly won't be bored. And if you go into Nerve looking for a thrill ride, you won't be disappointed. If you're hoping for more, that's a different story.

Has a big-name cast, a cute premise and... and... hang on, thinking here. Nope. That's about it.

It's all wildly uneven, but some bits really are funny. Ferrell plays his usual clueless character, but he's good at it. And it turns out a toned-down Hart is a funnier Hart. But Cohen can't keep a handle on it all. Worse, he has no feel for when the satire goes too far.

There are too many explosions, too many blaring sonic effects, too many break-ups-and-make-ups, too many villains. And not enough heart.

The final resolution of the plot is actually rather intriguing, but the journey to it is so slow and predictable that most moviegoers will have long since lost interest.

The first scene in Jack Reacher: Never Go Back promises something interesting but delivers something considerably less. That’s a problem with the whole movie.

The best thing “Day Shift” has going for it is the best things the dopey ’80s films had going for them — a willingness not to take itself too seriously. And that only gets you so far. But who knows, maybe in 40 years this will look better in retrospect, too.

Krasinski is likable and Martindale can make the lamest dialogue sound believable. But even they can't make us invest in characters that are nothing more than a collection of stock quirks and tics stuck in wildly contrived situations.

Woodley makes Tris easy to root for — only she and Winslet seem to be having any fun — but it's hard to become invested in the convoluted, rambling story. And at two hours and 19 minutes, it rambles for a while.

Overall the film never finds its footing, with its awkward shifts in tone accentuating the unease. There’s something a little off, and it’s Carell. We want to like him in comedies. It’s a big part of what’s made him a star. The Incredible Burt Wonderstone never really gives us the chance.

Much is promised and too little is delivered. What is delivered are intense performances by two terrific actors.