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.

Meanwhile, the Russos are ensuring that you never forget you’re watching a movie, and a stylized one at that. Note the names of the banks Holland’s character robs, for instance, or other little details. Granted, the person telling the story — Holland’s character — is an unreliable narrator for much of the film. But there’s a fine line between spicing things up and showing off.

At its best Power Rangers plays a little like a low-rent “Breakfast Club.” Unfortunately it’s not always at its best, and when it’s not, you get exactly what you’d expect: generic teen hero fare.

This trip isn’t so notable. It’s not bad. Some bits are enjoyable. But ultimately, other than some genuinely impressive visuals, it never makes a compelling-enough case to justify its existence.

The cornpone wisdom overflows from the screen during Joyful Noise, like maple syrup on your grandmama's flapjacks.

MacFarlane's film is too broad, too dumb, too offensive to justify the meager laughs it generates.

Levine shows some of the promise that would serve him so well later, but beyond an intriguing look and an initial attempt to put a new spin on the teen-horror genre, “Mandy Lane” winds up being pretty conventional.

There's nothing particularly off-putting about the movie. It's all right. But neither is there anything especially compelling. In the context of this cast, another descriptive word comes to mind: disappointing.

The Marksman is not awful. It’s not particularly good, either, but it’s not the disaster it should have been. Part of that has to do with the way Lorenz stages the action — well-choreographed and tense. Part of it has to do with Perez, who combines being adorable with a kind of hard-won wisdom beyond his years that makes for a completely winning character.

Kingsman: The Golden Circle is a movie in search of a reason to exist. Despite a needlessly excessive running time, it never finds one.

The Miracle Season is a pleasant surprise, the rare inspirational sports movie that actually earns its tears.

"Unfun" isn't a real word, but boy, it sure describes The Legend of Tarzan.

It’s better than a “Transformers” movie. Is that damning with faint praise? I’m not sure it’s praise at all. But it is true. Pacific Rim Uprising is, at least for about half the movie, better than a Michael Bay exercise in eardrum shattering. The sequel isn’t as good as the original, however, which probably isn’t a surprise.

Some may dismiss Heart of Stone as another rote action film. But to really look at it, appreciate the character of Rachel Stone and truly compare her with action men, she holds her own.

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

If the story is somewhat lacking, Cox is terrific.

Delivery Man means well, but it’s innocuous to the point of non-existence. In trying to please everyone, the film runs the risk of pleasing no one.

Barely Lethal has some laughs, and will probably serve nicely as a movie you can land on for a few minutes when it shows up on cable. But it slides into the rote generic-teen-comedy mode too soon to be anything more.

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.

It's not a usual story: a down on its luck team that has its own way of doing things turns a jaded coach into a human with a heart. We've all seen that before. But, Waititi's singular style makes it a joy to watch and a film worth cheering for.

DeCubellis sets up a satisfying, stylish mystery, populated by striking characters and situations.

Brutal, sadistic yet well-made statement about how violence is portrayed in media and our reaction to it.

Mortal Engines is an entertaining movie if you don’t ask to many questions of the story and stick to what’s put in front of you onscreen.

Into the Storm plays like a special-effects demonstration in search of a movie, but you have to give it to the filmmakers: They take no half-measures.

We’re the Millers plays like a “Saturday Night Live” skit that goes on too long.

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.

The Freemans’ minivan is moving 35 miles per hour, max, in every scene set in the car. They needed a lot more horsepower in order to convey a sense of urgency and thrill, and I’m not just talking about the van.

Yes, questions regarding violence and mayhem are drowned out by violence and mayhem. Such is the superhero life as directed by Zack Snyder. There is no problem that can't be solved with a cranium-rattling explosion or two.