There are some fun bits in the film. Law is kind of funny, in and over-the-top, does-he-mean-to-be-like-this way. Hunnam is game for playing Arthur. But Ritchie, in his attempt to ensure there’s never a dull moment, makes it all exhausting.

The movie is a pretty humdrum affair when it focuses on humans, even when actors are playing characters based on real people.

It's a competently made movie - in Jackson's hands it could hardly be anything but - yet rarely a moving one.

Admission is pleasant enough. Even when off a bit, the talent of the cast assures that. But it’s still a disappointment. You might say it, ahem, doesn’t make the grade.

While it’s visually arresting, it’s a disappointment. It’s too on the nose as a political allegory, and too lacking in coherent narrative to satisfy as a hipster comedy-drama.

Every third person on the planet will go to see this movie, and they will find exactly what they seek, nothing more but certainly nothing less. It's that nothing more part that ultimately disappoints.

If nothing else it’ll dazzle your senses, even on a small screen.

Director and co-writer Terry George (“Hotel Rwanda”) tries his best to give the film an epic sweep, but he substitutes quantity of plot threads for quality of story.

Despite the seriousness of the subject matter and the characters’ complex emotional journey, the film turns into something of a thriller with twists that, given the context, beleaguer believability.

There are some laughs (a well-placed police baton, for one). But Metal Lords feels unfinished, rough, like a solo the guitarist never mastered.

Really, every actor is likable and, all by themselves, good here. It’s that each situation is more ridiculous than the last and none of it fits together, even when everything gets tossed into the narrative blender toward the end.

Suburbicon is a hybrid of two ideas — two movies, really — and it isn't clear whether either would have worked separately. What is clear is that they don't work together.

You just have to hope for some fun along the way. The movie delivers that every now and then, but not nearly enough. Bigger! Dumber! Something! I’d settle for just better.

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

Redemption doesn’t have the chutzpah to let loose and be as dumb as it needs to be, so it instead bores the audience comatose with long stretches of sad-face Statham putzing around an apartment to justify the too-brief bursts of giddy bone-breaking.

It’s all very British, enough so they should serve tea and crumpets during screenings. Some of it is also entertaining. Just not enough.

Even with the talent involved, almost everything about Labor Day plays less like something you’d buy a ticket to watch and more like something you’d buy in an airport bookstore to read.

Rob Minkoff’s film has the generic feel of a kids’ movie that’s trying to please everyone. It’s not horrible. In fact, it’s agreeable enough. But nothing more.

It’s stupid by design, but it’s not stupid enough. … It plays like an idea in search of a film. Desperately in search of, and never quite finding it.

The tone is so uneven, the shifts so jarring, that they overtake the movie’s modest pleasures.

It's more thought experiment than film, and although it's laudable for its daring to be unlike any film you’re likely to have ever seen, it ultimately doesn't have more meaning to import than a well-photographed daily affirmations calendar.

There are some nice messages of inclusion, but they’re crowded out by a big dumb action scene at the end.

Grovic knows all the tricks of the trade, such as keeping the lighting dark (often too dark), in an attempt to add atmosphere. But in the end it seems like a series of shortcuts.

This well-intentioned buddy-road-trip flick lacks the danger, the drama and the sex appeal that most moviegoers will be looking for.

The film is not without charm, much of it provided by Larson as the sneakily demanding Brie. Liu is also funny and vaguely dangerous, while Henke is an agreeable presence. As for Hall, he's not asked to do much more than mope.

Writer and director Drew Pearce makes his feature debut in a confused, jumbled film that never quite gets its story straight.

Documented is obviously a bit of advocacy filmmaking, which is fine, but most of the time it's not compelling enough to reach beyond the converted.

The Night Before wants to make you laugh and cry, but it doesn’t give us enough opportunities to do enough of either.