There are some good ideas in there, even timely. But eventually, like everything else in the movie, they’re washed away in a sea of blood and a hail of bullets.

While there is some magic here, it’s not the transportive experience it might have been.

As in “The Searchers,” some of the motivations are questionable and murky. Yet the pain of losing someone you love is just as palpable.

Director Susanna White keeps things low-key and absorbing, as the action moves from Marrakesh to London to Paris to Switzerland.

"Unfun" isn't a real word, but boy, it sure describes The Legend of Tarzan.

Laughably bad dialogue and wooden acting.

Genuine, honest, thrilling.

Free State of Jones is a well-intentioned slog through a potentially fascinating bit of Civil War history, brought to life only by Matthew McConaughey’s performance, and then only occasionally.

It’s safe to say that Tickled is nothing like what its filmmakers set out to make. That's an artistic blessing.

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

Writer-director Noah Buschel (he was behind the Corey Stoll boxing drama “Glass Chin”) has crafted an odd little film that is sometimes compelling, sometimes maddening.

The music and the group are uplifting. The stories are inspiring.

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.

If you’re a literature junkie, and I cringe at typing the phrase because it sounds so quaint in a world of 140-character expressions of self, then the film has its fascinating moments. The performances aren’t really among them.

The hidden magic in De Palma is Baumbach and Paltrow’s editing. The pacing is just right, and the stories flow, one from another. Sit back, relax, watch, listen and learn. It’s a good time at the movies.

“Raiders!” is as sloppy and imperfect as the kids’ shot-for-shot remake, but it has much the same charm.

You come to this movie hoping that Johnson and Hart make you laugh. Sometimes they do. Sometimes they don’t. The hit-to-miss ratio is higher than you might expect, and both actors could accurately be described as pleasant, if not especially creative.

Like the original, Finding Dory makes us understand the fears, joys, struggles and triumphs of family.

The heists are bigger, the illusions are flashier, and the pace is quicker. Even the cast is livelier and more fun. Perhaps best of all, the movie captures the first film’s twisty ability to twirl an audience around, so you’re never entirely sure what’s happened until everything is explained.

The Conjuring 2 won't make anyone forget the first film, but it's good enough that you'll hope they make another.

I love movies like The Wailing. Na Hong-jin’s film is like a genre buffet, with horror as the main course, but a hearty helping of mystery, crime drama, black comedy and family relations on the menu, as well. Don’t forget the side dishes of religion, superstition and ritual. It’s a full meal.

A movie with a title like Puerto Ricans in Paris comes with certain expectations. Low ones. Thanks to the efforts of Luis Guzman — and they are mighty — Ian Edelman's slight film manages to rise above them. Not by much, but above them, still.

It aims to match the mythic gravitas of “The Lord of the Rings” — even throwing in a nod to the Book of Exodus for good measure — and the results fall paint-by-numbers flat.

Writer and director Mark Elijah Rosenberg paces things patiently, which in some cases is a polite way of saying there are boring stretches.

The stunning character work is accented with moments of pure cinematic poetry. Audiard uses the camera like a paintbrush, composing lyrical interludes and disorienting transitions with the power to leave you breathless. It’s all so quietly brilliant — until it isn’t.

Yes, “Popstar” is dumb, dirty fun. So what’s not to like?

Me Before You is enjoyable in places, and Claflin eventually gives his character some depth beyond simply being angry. But the film exists mostly as a tear-production delivery system.

For all its missteps and machinations, the film mostly achieves its goals. In other words, have some Kleenex ready at the theater.