As with nearly everything else in The Campaign, a little goes a long way, until it finally just goes on too long, period.

Kick-Ass 2 has a mean-spirited vigilante streak the first film lacked (it seemed more concerned with justice, in its way), as well as a fatigue. It’s still funny, particularly when Hit Girl spews profanity and wields weapons. It’s just not as good.

The gossip will die down, presumably, but the film will remain. And what will stand out about it in the future is what stands out now: Pugh absolutely nailing the role of a woman trapped in a too-good-to-be-true scenario, and slowly coming around to that realization.

The film has lots of effects and action and loads of Chris Pratt. What it needs more of is heart.

Kudos to Blomkamp for not shying away from social issues in his films, but here the execution doesn’t live to the intentions.

Miele also made the similar "Scatter My Ashes at Bergdorf's," a look at another ultra-expensive store in New York. That film, however, did a better job as a social investigation into how the other half lives. Crazy about Tiffany's is more shallow, as befits so many of the interview subjects.

The bad news - it's not interesting enough to be a disaster.

Lane is an endearing performer, but she needs something, anything, to work with. Here, she's getting by on sheer likability.

While this version, listed as a "prequel," has a few gross-out moments, it lacks any sense of warmth. Which might be an odd criticism of a horror movie set in Antarctica, but there you have it.

Like all faith-based films, it’s preaching to the choir. But as cinematic sins go, Hollywood regularly commits worse.

Andrea Pallaoro’s frigid portrait of a woman in crisis is more a calculated exercise in formalism than an achievement in storytelling. His well-composed images of loneliness are cerebrally satisfying but lack emotional heft.

Yes, it’s a musical — strictly authenticity isn’t a requirement. Emotional authenticity, on the other hand, is. And that’s what Dear Evan Hansen could use more of.

It’s exceptionally well made, daring and experimental, with a powerful performance from Ana de Armas at its center. At its everything, really — she dominates the film, as well she should. But the film is also too long, too self-indulgent, just too much. It is a marathon of misery.

It's all too much, and it's too hard to follow. Less is more, and this movie proves it.

The story simply doesn't stand up, with its combination of well-worn plot elements and confusing red herrings -- or maybe they're just details that don't add up.

There are some funny bits, to be sure. You can’t bring this bunch together without a few hits among the misses. But despite McKinnon’s best efforts, it’s just not enough. This is one Office Christmas Party you can skip.

The movie falls flat, playing like the best-cast bland romantic comedy you've ever seen.

August: Osage County is at times affecting (Cooper’s tender moment with Cumberbatch, who has slept through an important event, is especially so), but mostly it’s all about actors acting and never letting us forget they’re doing so.

If there is a saving grace to Monte Carlo, it's that the frothy film strikes a nice balance between the ridiculous and the, well, slightly less ridiculous.

That Freak Show is not the joyous gay party it aspires to be is a testament to squandered opportunities. For all the aces up its sleeve, Freak Show never quite lets its freak flag fly.

Aside from cast changes and some plot tweaks, there’s not much new to see here. James is an engaging presence, but as this season with the Lakers proved, he alone just isn’t enough.

Reynolds is a good actor but he's miscast. Mirren is great, and she makes Woman in Gold better than it otherwise would have been. Still, it's just kind of boring and straightforward, even if its inspiration is not.

It's a maudlin, superficial exercise in obsession masquerading as a heartfelt romance and study of grief, and character development is sorely lacking. Although well-acted, particularly by Annette Bening, the story feels contrived.

An American Pickle is the kind of movie that never quite decides what it wants to be. Pick a lane, as they say. Otherwise, you’re all over the place.

Writers and directors Aron Gaudet and Gita Pullapilly can’t seem to decided whether to make an offbeat comedy about two under-appreciated women turning to crime or a mismatched buddy cop comedy. So they made both. It’s not a seamless fit.

If you found "Shrek the Third," the third film in the "Shrek" franchise, tired, it will probably come as no surprise that Shrek Forever After is downright exhausted.

Told in such predictable and bland fashion it dulls the effect. And this in a movie with Robert Duvall, Lucas Black and Melissa Leo.

This isn't even really a sequel to the hilarious 2009 comedy smash set in Las Vegas. It's virtually the same movie, just transferred to another continent and with the raunch wildly amped up.