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.

Instead of delving into the moral questions WikiLeaks asks by its very existence, Condon gives those a passing nod in a couple of weak subplots.

Den of Thieves isn't a masterpiece by any means, but it's fun, exciting and hard-boiled, and the actors are doing solid work.

American Reunion depends more on the audience's feelings for recognizable characters than telling an original story, so adjust your expectations accordingly.

One of those message movies that never uses subtlety when a sledgehammer is handy.

Gosling and Evans are movie stars, no doubt about it. How far that charisma can take a film is a question “The Gray Man” asks and answers: pretty far, but not far enough.

It's a soapy, predictable ride where everyone learns about the importance of family. And though it's just a Christmas tree away from being a holiday special, the stellar cast wrings just enough genuine emotion out of a stale premise to make it mostly sweet.

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 plot twists galore, but they unfold in ham-fisted fashion, as if the screenwriter (newbie Brian Tucker) didn't know how to layer the mystery. Instead, the movie simply drops these secrets out of nowhere, in clunky fashion.

The plot is lacking in emotional weight, even though the adversities are right there on paper.

Director McG proves perfectly adept at blowing things up in interesting ways, but there's not so much acting here as there is yelling at different volumes.

If it doesn’t have the family drama of “Walk the Line” or the psychodrama of “The Doors,” Bohemian Rhapsody does deliver what any music biopic must: convincing characters and some kick-butt simulated concert experiences.

It's all well done and cute and forgettable.

It’s befuddling that such a barrier-breaking filmmaker would make a biopic about a woman who shares similar daring qualities that’s so … ordinary. To make boring the revelries of 19th century literati is no mean feat, but it is Mary Shelley's chief accomplishment.

Trouble is, it all adds up to . . . not much.

Director David Leitch’s film, based on the novel by Kôtarô Isaka, is a hyper-stylized, hyper-violent action film that rarely comes up for air. It’s also a big ol’ mess. Although everyone involved seems to be having a good time.

The star wattage is blinding, but the film fizzles out.

It all adds up to a decent movie — one that, for those in the know, stands in the shadow of a better one.

Owen and Binoche both are quite good, rising above the material for the most part. But even they can't save the film from itself, or from an ending that's downright bizarre.

The imagery is romantically period, with textured scenes staged in handsomely lit smoke-filled rooms, its newsreels and baseball stadiums suffused with charming Americana. But you can’t root for set design or feel empathy for colored filters. You need human beings for that, and The Catcher Was a Spy keeps its heart under lock and key.

Little won't offer a lot of surprises as it hums along to the inevitable conclusion, but it is funny.

It's not a total wash. Shaye's performance is reliably good and the sequences set in The Further (the netherworld of the "Insidious" films) have a kicky charge.

Riddick aims much lower than the stars and still doesn't quite hit its target. But when you consider a summer overstuffed with disappointing prestige pics that cost the GDP of several island nations to produce, Riddick's more modest (and less expensive) stumbling doesn't seem so bad in comparison.

Without a buttress of cleverness, Cooties is mere freewheeling idiocy.

Unfortunately, the name is the only thing emboldened about this starchy biopic, a dry, talky affair that even Liam Neeson in full glower can’t bring to life.

In the end, How to Make a Killing is fine, fun, a nice diversion starring, if no longer the flavor of the month, then a good actor elevating the material around him.

It’s easy to roll your eyes at what we see in “One Track Heart,” but harder to dismiss the happiness and peace on display here.

Lola Versus isn't a bad movie. It's just not a particularly noteworthy one. It's too self-consciously ... everything.