The Alto Knights is a good movie, but one that feels like it could have been great. And for what it’s worth, although I’m still not sure why it’s here, De Niro’s Pesci imitation is killer.

Without real innovation or story evolution, Blair Witch becomes a trip down a rabbit hole of misery and suffering.

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

Shankman gets enormously entertaining performances from Tom Cruise and Alec Baldwin, so much so that it's a problem: The movie's not about them.

Odd indeed. In a good way, mostly.

There is an element of sadness to this story that’s necessary to make it effective. Take that away and you’re left with a cute kids’ tale that doesn’t trust younger audiences to process the elements that can be difficult — and that make it better.

Murray occasionally shows flashes of his comic genius, but only flashes.

There's a surface elegance that might play as depth in smaller doses, but at feature length, the stylistic flourishes seem to be covering for deficiencies rather than servicing the material.

If you are a stickler for movies that follow the laws of, say, physics, nature and common sense, The A-Team might not be for you. If, on the other hand, you get a kick out of exchanges like this - "Are they trying to shoot down that other drone?" "No. They're trying to fly that tank" - then you're in for a treat.

The acting is good, the story of doomed lovers suitably tragic. But the film is never quite moving in the way one would hope.

The dialogue is particularly bad, which is odd because the Duplass crowd typically excels at natural-sounding dialogue.

The movie... keeps things surface-level when it comes to Bieber’s life and doesn’t give fans any new insight into the pop star that they haven’t been able to glean from his social media posts.

There are a few big laughs, but there are also long stretches in which nothing funny happens.

Gringo dabbles in several genres, none particularly well.

The dialogue is agony.

The heists are bigger, the illusions are flashier, and the pace is quicker. Even the cast is livelier and more fun. Perhaps best of all, the movie captures the first film’s twisty ability to twirl an audience around, so you’re never entirely sure what’s happened until everything is explained.

Perhaps the movie's most surprising feat? Somehow, the darned thing mostly works, probably because its heart is in the right place.

Burke and Hare is a waste of a good cast and a better story, as well as a hollow reminder of how John Landis seemingly has lost his touch.

The film is cinematically brilliant but morally obtuse.

There is no denying that the environmental message is heavy-handed.

My Spy is best summed up as fun and expected, but also, at times, surprisingly violent for a story where the main character is a nine year old girl.

The Super Mario Bros. is family-friendly movie theater catnip over the Easter weekend, and it’s sure to be an enjoyable watch for the average viewer. I’ll leave the “Mario” superfans to determine if every frame, line of dialogue and reference to the video games lives up to the hype around the film.

Ultimately, however, what prevents The Oranges from being the movie it might have been is Farino's inability to settle on a tone.

It’s not as terrible as the premise suggests, thanks to some flourishes on Joseph’s part and an intriguing performance by Wes Bentley. Efron’s absurdly winning persona doesn’t hurt, either.

Luckily, Horn is so good -- as is Max von Sydow, in a wordless role -- that the film resonates in spite of the tear-jerking strings Daldry pulls.

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.

It’s long on violence and short on storytelling. It aims high, working in the realm of myths, but it does so in hit-or-miss fashion.

A by-the-numbers, good-vs.-evil tale.