The film evolves into one of those "watch the hostage fall in love with her captor" tales, always an icky plot development that's not any more appetizing here. There are some more twists to be had, but it's never more than marginally interesting.

For all its thematic and behind-the-scenes innovations, cinematically Captain Marvel feels like a step backward for the MCU. Fresh off the heels of the all-or-nothing bombast of “Avengers: Infinity War,” the righteous representation of “Black Panther” and the giddy lunacy of “Thor: Ragnarok,” Captain Marvel is a retreat into a bland formula.

The great strength of The Sower is that it doesn’t try to do too much. It zooms in on its microcosm with a tender urgency that offers a glimpse of complex humanity without reducing the story to some sort of pithy takeaway.

¡He Matado a Mi Marido! seems to be inspired by the kind of bold comedies that Pedro Almodóvar specializes in, with divas at center stage and madcap situations. But writer-director Francisco Lupini-Basagoiti is no Almodóvar, mistaking stupidity for zaniness.

With moments that harken to De Palma's "Carrie" (the claustrophobic toy box mimics Carrie's closet) and even "The Hunger," Greta is a mishmash of tropes masterfully compiled into a chilly and taut flick

One kudo to this lazy effort: The climax does have a real end-of-a-trilogy feel, making further sequels less likely. Silver linings, folks.

Broderick and Röhrig's chemistry is so unusual that it works well in this strong feature film directing debut for Shawn Snyder. And that goes for the whole movie. It's so odd that viewers need to see it.

It's fascinating and unpredictable, so much so that the fate of Irene almost becomes a secondary concern. And thanks to the very clever and very compassionate way that Farhadi has crafted this film, that's not a flaw.

Credit returning director Christopher Landon and screenwriter Scott Lobdell (Landon co-writes this time) with trying something different with the story. Blame them for not doing something better.

Even if your veins pump with more popcorn butter than blood, Alita: Battle Angel can get a bit too stupid to bear, like watching a pair of 13-year-old boys play a very expensive video game they designed themselves.

The problem isn’t that it pokes fun at romantic comedies, it’s that it itself isn’t a terribly good one.

Elliott's performance as Barr makes the movie.

You don't have to be endowed with an otherworldly gift to know that What Men Want will do little to please the men or women watching it.

While it necessarily lacks the joy of discovery the first movie brought, “The Lego Movie 2” is still a breathless romp, landing enough jokes a minute to discourage over-analysis. It’s a good time at the movies, which is all a Lego movie really owes us for the price of admission.

Dig a little deeper, however, and you’ll find … another Liam-Neeson-gets-revenge action thriller. But one with quite a few laughs thrown in amidst the unlikely ugly heroics.

All elements of the film cohesively create a must-see film about overcoming fear for kids and adults.

The Invisibles is part documentary and part feature film. For most of the movie, it's a good thing.

It looks great, Abbott is twitchy and terrific and you really want to like it. But it's never particularly involving, and it becomes even less so as it progresses. Ultimately, it's just a gorgeous, gruesomely wrapped package with little inside.

When an inane ending appears out of nowhere and purports to add depth to a movie which has little? That's just maddening. And the twist in Serenity leaves you feeling both cheated and annoyed, which surely isn't the filmmaker's intention.

People who love thrillers without question may find a lot to enjoy here. For a political thriller, it's not one of the most cerebral out there. Those who simply love Curtis and Sumpter might also like the film. But other than those perks, audiences are better off saving their money.

The modern interpretation of King Arthur will entertain young viewers, eager to follow a story that doesn’t require Merlin’s magic to see where it’s headed.

Inevitably, embroidering upon a fairly simple idea saps some of its impact, and Glass ends up tipping more toward the self-conscious genre-riffing that “Unbreakable” offers an antidote for.

The film has so much potential, but it's a shame that it all falls flat.

Capernaum is a tough slog, no doubt, even by tough-slog standards. But that’s a big part of what makes it so rewarding.

Destroyer frequently zombie-shuffles into unintentional hilarity, confusing darkness for depth, ugliness for complexity, convolution for smarts. It is just too self-serious to take seriously.

It’s clear from the opening shots that a physically and psychically savaged post-war Poland is impossible ground for love to flower, and it’s a testament to Pawel Pawlikowski’s talent that this fatalism makes us more, not less, invested in the romance.

Laurel and Hardy embarked on their tour to stay relevant in the public's heart. Through this delightful representation, a new generation of viewers can experience their timeless comedy.

Despite their palpable comedic chops, Hart and Cranston are unable to make this unlikely and stereotypical pair likable.