The film is at its best when it focuses on real-life human drama rooted in character: failing marriages, crushing poverty, professional malaise. Davis in particular delivers as impassioned a performance as ever -- good enough that you wish you could airlift her character into another movie.

Statham is always good as the silent butt-kicking type and is fine here. Franco, as is often the case, seems to be acting in his own private movie and having a grand old time doing so; results for the audience may vary. Bosworth is good, scary skinny and wired for trouble as a menacing mom.

The Shallows is pretty much a woman stranded on a rock, with a big shark between her and the shore. “We’re gonna need a bigger boat?” “We’re gonna need a smaller bikini,” more like.

You see this cast, you expect to see a lot of violent action. And in that regard, The Expendables delivers, and then some. In this case, then, the old saying applies: Be careful what you ask for, you just might get it.

Mostly harmless, but the largely joyless exercise is a letdown after getting a glimpse of a re-energized Murphy in "Tower Heist."

The script feels structurally inept, building up scenes and characters then cutting them off, never to be revisited. The end result is a film that feels full of staircases that lead nowhere.

The film is packed with moments of rank idiocy.

Jang and Odagiri are good as the rival runners and soldiers. But they are surrounded by over-the-top performances, which play out like a mugging contest.

The film is visually striking, even if the images don’t always make sense.

The result is a pious mess of a movie that falls short both as history and as storytelling.

The filmmaker's seeming lack of skepticism makes for rough going if you don't buy into Kenyon's vision.

Everything, Everything is a flawed film in many ways, but there is one that’s a deal breaker: It doesn’t make you cry.

Trouble is, it all adds up to . . . not much.

There are a couple of intriguing ideas floating around here and there, but that's all they do - float around, unmoored by any sense of reality and, thus, suspense.

Carrey and Daniels are good actors, and it's understandable when an artist wants to revisit a career-high point. How much you enjoy Dumb and Dumber To will depend greatly upon whether you think "Dumb and Dumber" was one.

At times it’s a learn-your-lesson story. At times it’s a shoot-’em-up that does not skimp on the gore. Whatever trope it dips into, it does so without much originality.

It's a modestly interesting coming-of-age movie, and a totally forgettable mystery.

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

First-time writer-director Tom Gormican keeps the dialogue moving at a rapid pace, which doesn’t obscure the fact that most of what is said is dopey and witless.

There are brief bursts of hilarity, and they are all, without exception, owed to McCarthy’s innate charisma and comedic timing.

There is the occasional cool visual and clever world-building detail, like jellyfish couture and eye-popping underwater physics, but Aquaman never fully commits to its lunacy.

Beyond the leaps in logic, the most troubling part of this film is that it just feels like a defense of the excess of Christmas.

It's not as if every funny movie has to offer something in the way of social commentary or greater insight. Sometimes funny is just funny. Sometimes, as is too often the case here, it's not.

When all the parts are sewn together, the end result proves as crude and slapdash as the monster itself.

There’s a freewheeling spirit to The Bubble that’s meant to reflect the times during which the film was made, but instead of creative forces finally unleashed it comes off as half-baked, more like a first draft than a finished film. Apatow knows comedy, and his intentions here are good. It’s just the movie that isn’t.

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

The effect is initially giddy but it ultimately wears the viewer down.

It is hard to imagine that a Scandinavian-set comedy starring Jenny Slate would lack charisma, but unfortunately, the most interesting characters in The Sunlit Night are a yellow barn and the sprawling scenery of rural Norway.