If it weren’t for his voice, Kutcher would have been the ideal choice to star in Jobs, a well-meant but ultimately unsurprising biopic.

The Losers does a perfectly serviceable job of achieving its low ambitions.

It's paper thin, floating away when it's over without leaving a strong impression one way or another.

If you're willing to accept Killer Elite as a shoot-'em-up action movie with good actors taking the spots of the usual lunk heads (but spouting the usual nonsense), you'll be pleased with the film.

Among the many historical documentaries on Israel there are to choose from, this one is tantamount to two hours of footnotes.

Director Wes Ball's film is a mad dash from one place to the next, with little time in between for rest, recuperation or plot development.

McCormick is particularly grating in upholding her half of the romantic duo. Sure, she can dance, but act?

The purpose of San Andreas is not to make us think, but to make us gape, to pummel us with effect and effect until we finally give in. Fair enough. Uncle. I need a Tylenol anyway.

American Pastoral is a movie, like the Pulitzer Prize-winning Philip Roth novel on which it is based, dense with passion, politics and historical import. But Ewan McGregor, directing his first feature, never brings the film fully to life.

Any film that reminds us that the work for equality is far from done is traveling a worthy path. This one just could have done it better.

Screenwriter Jon Vitti and first-time directors Fergal Reilly and Clay Kaytis certainly give it a try, but their bag of tricks is mostly recycled and their sense of humor is aimed squarely at 12-year-old boys.

The final resolution of the plot is actually rather intriguing, but the journey to it is so slow and predictable that most moviegoers will have long since lost interest.

Unfortunately, nothing in the film –Foy's performance included – cuts the chill, and you're left trapped in a big, wintry void.

With “Maleficent’s” feminist message suffering a relapse, the sequel looks more like generic film fantasy than a fresh take on an old story. The cuddly creatures and razzle-dazzle action are enough to make two hours disappear, but it’s only Jolie’s bat-winged charisma that will rattle on in your memory.

Strange, surreal and compelling, All I See Is You is a dreamy exploration of a marriage, and what happens when all of its imbalances and insecure quirks are suddenly thrust out in the open. It’s also something of a thriller, and the two worlds don’t mesh in a way that is completely satisfying. Still, it’s riveting to watch everything unfold.

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 a noble attempt at meaningful comedy-drama, but Braff struggles with shifting tones while mismanaging his own character. It's easier to appreciate the effort than it is to enjoy the film.

It's big and it's loud, but ultimately not much more than that.

The movie plays like a missed opportunity, with its by-the-numbers scares and a story that feels disjointed, hurried in some places, slow in others.

Awash in mawkish sentimentality, Dear John still will move you deeply - if you're a 12-year-old girl.

Daisy Edgar-Jones is affecting and effective as Kya, known to redneck townsfolk as “The Marsh Girl.” If only the filmmaking and screenwriting were as good as her performance. It’s really just a swampy Southern Gothic soap opera at heart, with designs on being something more.

Those who enjoy either World War II movies or period dramas likely will enjoy this movie, even if some of the plot twists are predictable. It's an enjoyable deviation from the typical war story, but if there were more layers of warmth and stronger emotional connections between the characters, it could have built to a more satisfying conclusion.

Newton's character is the only one we really become invested in. At least that's something. But Good Deeds leaves you wanting much more.

Director Marc Forster moves from one thing to the next so quickly the movie plays like a two-hour-plus trailer. Something feels like it's missing here, even at that length.

It’s a big disappointment, not least because of its talented cast, and Bell’s obvious talents as a filmmaker.

The action-thriller is formulaic and obvious. In other words, it's just another Neeson movie, nothing more, nothing less.

It glosses over any number of defining Winehouse moments. In the end, though, you do get a sense of who she was and why she was the way she was, and how that drove her to create such deeply soulful music.

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.