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

The Exorcist: Believer is the first film in a planned trilogy. Better luck next time.

Angels Sing is a shameless holiday movie, one that will stop at nothing — even killing off characters — to try to wring one last bit of emotion out of the audience.

It’s formulaic. It’s predictable.

The Gunman is a predictable slog through action-movie tropes, and Penn's intensity isn't a good fit.

Nothing feels believable in “Big Stone Gap,” a bungled, charm-free look at small-town life in the South in the late '70s.

Oh, all right, some of The Other Woman is funny. The parts with Leslie Mann, mostly, who makes this hit-and-miss, problematic comedy directed by Nick Cassavetes far more entertaining than it has a right to be.

Yes, it's that sappy, in between the F-bomb barrage. But Hill brings an infectious confidence to his performance, even when he's supposedly down and out.

The film ricochets between Tammy being an oblivious cartoon goblin and a textured, sympathetic human being who just wants to be loved. Perhaps if the film had catered a little less to McCarthy's comedic gifts — the curse-word fugue states, the slapstick humor, the non sequiturs — the end result would have felt more balanced and rewarding.

This movie is exhausting.

Yes, it’s a musical — strictly authenticity isn’t a requirement. Emotional authenticity, on the other hand, is. And that’s what Dear Evan Hansen could use more of.

More curiosity than movie, “Michael,” a biopic so reverential towards its subject, Michael Jackson, that it borders on worshipful, can’t seem to figure out what it is.

Basically, a lot of things happen; not interesting or believable things, but, hey, there's movement and action.

There’s daring in the film’s slow unfurling. The problem, though, isn’t one of patience but of payoff. Woodshock is beautiful but it’s all chassis, a root-dead tree that crumbles beneath the ax.

It’s an enjoyable ride, but probably not one you need to take twice.

Planes was originally scheduled to be released straight to video. Although the smallest children might like bits and pieces of it, there’s nothing in the movie that suggests why Disney strayed from its original plan.

Michael Manasseri’s film wants to be one of those sweet-with-sharp-notes comedies, and in some respects it is. But it is overwhelmed with clichés, stereotypes and overly broad portrayals.

It's all just empty calories and little more than an excuse to watch Zac Efron play with puppies. It's nice, but for anyone who's too mature for Tiger Beat, it's not enough.

Stark’s turgid approach feels both pompous and cold, and the film never connects emotionally.

What’s really missing is the sense of magic. Some films feel like classics from the start. Others don’t. The new “Pinocchio” falls into the latter category. Watching it makes you believe sometimes it’s best to leave well enough alone.

The characters aren’t the only things painted in broad strokes. Sweetwater is rife with gauche symbolism and imagery.

The big-screen version of Entourage is constructed like the series, another chapter in a sequel-ready story. If you wanted something more, you won't get it. But you will get this, and if it does well, likely more of it.

Genisys is more entertaining than the last two installments, although it's not nearly as good as the first two.

If you’re a fan of action movies, or you’ve ever pondered the questions of nature vs. nuture or even what you’ll tell your younger self if you had a chance, you’ll enjoy Gemini Man.

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.

Bang, boom, bam. That’s about the size of things in No Escape, a movie banking on its admittedly first-rate action drowning out its political tone-deafness.

Nothing fresh is being brought to the table, but it's a sufficient bit of fun for anyone who longs for the days of Brosnan's spy swagger.

Hafstrom creates a nice, creepy vibe, especially for the first part of the movie, which has a menacing atmosphere. Too bad he doesn't sustain it.