Jack Lemmon and Walter Matthau never made a movie called Grumpy Old Men Go Camping. If they had, it surely would look a lot like A Walk in the Woods.

The production is nice looking, and telling the Edward-and-Wallis story from her side is an interesting idea, but it's one that Madonna simply can't pull off here.

If you insist on seeing Men in Black: International, do yourself a favor and zap yourself with an official MIB neuralyzer, erasing all memories of previous films in the franchise.

Everyone here has been better, and funnier, in other things. This is a lazy story, wholly dependent upon the likability of its cast which, while considerable, isn’t enough to make it worth the trouble.

Representing the 78-year-old writer and director at his perfunctory worst, Magic in the Moonlight is an unfunny, unromantic comedy.

Beyond the Reach is a misfire, one of those movies that never quite rises to the level of guilty pleasure.

3 Generations feels focus-grouped into existence, like its every development was fine-tuned to be as inoffensively on-message as possible in its treatment of trans issues. That’s good for take-home pamphlets and afterschool specials, but deadly to dramas.

It all has the air of a community theater troupe performing in a Disney parade, overeager in the exaggerated artifice. That's well enough for an amusement park, but on film it's embarrassing.

It’s a maudlin, meandering bit of moviemaking that sheds little light on the loyal opposition in the North.

How much of this is actually funny is a question of taste, but even a confirmed Perry hater might get caught laughing once or twice.

It’s an action movie without an exciting moment. It’s a special effects flick with chintzy visuals. And it’s a Gerard Butler vehicle without enough Gerard to go around.

Legends of Oz: Dorothy's Return lacks any sense of magic.

The movie ultimately winds up falling between two stools, failing as both a biography and an action film. Martial arts fans will naturally be drawn to the story, but the film does nothing to open up the world to outsiders.

If you’re going to make an origin story, make an origin story. On second thought, if you’re Joe Wright looking to tell us where Peter Pan and Captain Hook came from, maybe don’t.

It’s a lazy, thoroughly unoriginal bit of storytelling, but it has just enough cheeky humor and bass-thumping action scenes to be a potential crowd-pleaser.

You can practically see Hart straining to break free of the script and let loose with a wild improvisational rant, and you never lose hope that he might. (Spoiler alert: He doesn’t.)

Storks is charmless with rote obligation. This is a kid’s film for hire, with none of the creativity, emotion and design that elevate the genre to art, or even simply a fun time at the movies.

You can't get close to Bennett — not because he's a morally ambiguous character, as the movie would have you believe, but because he never puts anything on the table. He struts through every consequence, a man with nothing to lose because he never had anything worth losing in the first place.

Peter Lepeniotis’ animated film brings together a good cast, including Will Arnett, Brendan Fraser and Liam Neeson, which sounds like a sweet deal. But it places them in an uninspired little movie about selfish behavior, which, while overcome (of course), never really manages to escape its bitter roots.

A documentary so enthusiastic, good-natured and sweet about such an abject disaster that it almost makes "Troll 2" worthwhile. Almost.

The best thing about the movie, by far, is Green. Her Artemisia is a real nut case with a taste for blood, and Green is the only one in the cast who seems to be having any fun at all.

The report is important. Its findings and the attempts to undermine them and the investigators, shouldn’t be forgotten. That The Report tries to keep these lessons in a fickle public’s consciousness is a good thing. If only anything committed to screen here were memorable.

Aside from Dance and some hazy views of impaled bodies, the film is low on shock and gore. It's aiming more for sweeping historical epic, but it doesn't work on either level.

The Last Days on Mars isn’t a disaster. Robinson, in fact, shows some promise. It’s just not much of anything, a movie ultimately as barren as the landscape on which it takes place.

It’s a lame, scare-free film that wants really badly to work in the vein of “It Follows,” but has none of the intelligence.

May walk like a comedy and quack like a comedy, but despite the absurd extremes to which it takes the squabbling-family formula, it inspires nary a chuckle.

The problem with movies based on a single joke is that a single joke is rarely funny enough to sustain the running time of a feature-length film. And with Abraham Lincoln: Vampire Hunter, the whole joke is in the title.

This is a wretched movie, trading on characters we revere, yet doing nothing to honor them. Director Peter Segal tries everything he can to recapture the magic of the earlier movies, but to no avail. It’s all rather sad.