As with any movie of this sort, there are a few laughs. Johnson is as likable an actor as there is, and it’s to the actors’ credit that they buy in to the stupidity. But there aren’t enough laughs and not nearly enough story.

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

Lane is an endearing performer, but she needs something, anything, to work with. Here, she's getting by on sheer likability.

Alien: Covenant is much better than “Prometheus,” in that it has plenty of scares and an actual plot, which, if sometimes predictable — all of these movies are in some ways the ultimate game of survival — is still satisfying.

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.

Jacobs, while making a fairly funny movie, does not settle for easy answers or melodrama.

Liev Schreiber is outstanding as the title character, a big lug who can’t stay out of his own way.

There are some fun bits in the film. Law is kind of funny, in and over-the-top, does-he-mean-to-be-like-this way. Hunnam is game for playing Arthur. But Ritchie, in his attempt to ensure there’s never a dull moment, makes it all exhausting.

What a mess. Its meandering plot draws attention to the alarming lack of laughs — not what you look for in a supposed comedy.

Somewhere, deep inside Justice Served, there is the kernel of an interesting idea. But you've got to look hard, because the finished product is pretty dire stuff.

Artfully shot and mooded-up with a jittery ambient soundtrack, Risk is compelling because the enigma of Assange is compelling.

There are moments in The Dinner, Oren Moverman’s tense drama based on the Herman Koch novel, in which you sit back and watch four terrific actors go at it. There just aren’t enough of them.

Director Terence Davies dispenses of any gaudy romantic trappings and makes something much more beautiful in A Quiet Passion, a delicate and measured drama that plumbs the depths of the poet’s strange heart and the agony of her intelligence.

Writer and director Sarah Adina Smith’s vision is so confident, so sure, that it’s worth trusting her to see where the story goes. Plus, you get Rami Malek at no extra charge.

It’s the classic example of the sequel to a really imaginative original: If the first one didn’t exist, this one would seem revolutionary. But the first one does, and Guardians of the Galaxy Vol. 2, for all its charms, will live in its shadow.

On the Map is more like a sleepy lecture during the last week of high school: You may hear some worthwhile information, but it's not going to stick.

While Below Her Mouth is no doubt some classy-looking porn, it’s a pretty lousy movie, because all that sex leaves precious little time to develop character, plot or thematic depth.

Doesn’t plumb the depths of adolescent emotions and high-school politics so much as skims the surface in a psychedelic dinghy.

The acting is outstanding; Mungiu’s straightforward dialogue and naturalistic shooting make for a movie that feels genuine, with no false steps.

There are quite a few genuine laughs along the way. Director Ken Marino has a firm hand with big, silly slapstick, but he also knows how to make the most of dialogue.

Abe’s performance is compelling in the way it captures the gap between who Ryota has become and how he wants to see himself, and Japanese screen veteran Kirin Kiki gives a terrifically nuanced turns as his again mother, pulled between the disappointments of the past and a fierce determination to find joy in her present.

"Norman” takes a largely unlikable character and inserts him into the center of its story, a gambit that seems like a surefire recipe for disaster. It’s not, thanks to Richard Gere.

The movie just hits the nail on the head: that sense that we're just going through life, trying to navigate it the best way we can in each moment. There are a lot of things to love about Truman — including the dog — but that could be one of its best and biggest attributes.

Director and co-writer Terry George (“Hotel Rwanda”) tries his best to give the film an epic sweep, but he substitutes quantity of plot threads for quality of story.

The Lost City of Z is a throwback, an epic film about a grand adventure.

This cartoonishly violent exercise in cinematic hero worship comes at the audience with chambers loaded and fires off rounds too rapidly to worry about how vapid it all is.

Colossal is a monstrously imaginative movie with a premise so bizarre it’s amazing it ever got made. But it’s a good thing it did.

Really, the movie is the third cheeseburger, the fourth beer, the fifth ice-cream sandwich. It’s gluttony, which is kind of enjoyable when you’re in the middle of committing it but leaves you feeling sluggish and remorseful later when you’ve had time to think about it.