I'm not entirely sure, but near as I can tell, this adaptation of Augusten Burroughs' memoir of family dysfunction finally and irrevocably lost me right about where the cat ended up in the stew pot, stirred with maniacally morose glee by Paltrow.

While Ferdinand isn’t a train wreck by any means, it does come off as an also-ran in a year now dominated by the truly marvelous "Coco."

My Cousin Rachel 2017 retreads du Maurier’s luscious mix of Gothic trappings and psychological mystery, but it’s a wan concoction that’s never fully convincing or engaging.

Notably, Phantom Boy treads territory that’s similar to much of Hayao Miyazaki’s work, with a main character seeking the otherworldly in the face of a terrible reality. Missing, though, is the narrative and emotional cohesiveness that would likely have led to Felicioli and Gagnol’s film being a more engaging and memorable work

It's hard to imagine anyone ---coming away from Hanging Up with any sense of revelation, soul-enlargement, or even the simple pleasure of a compelling tale well told.

The gifted veterans, Redgrave and Stamp, manage to imbue their characters with personalities and physical bearings that transcend the stereotypical. But there’s little else that separates a film like this from the sing-your-heart-out self-actualizations of a teen show like "Glee."

Likely to be remembered more for its method of manufacture and release than for any inherent qualities of its own. It will also become one of the many fascinating footnotes in the always provocative career of Steven Soderbergh.

All of this culminates in a film that is equal parts silly and nationalist. If you find yourself nostalgic for the bloodless mode of America vs. The World action movies that populated the 1990s, then Vanguard is for you. And if you’re a Jackie Chan completist, the mediocre nature of the film is at least partially offset by his heartfelt rendition of the theme song and an A+ collection of outtakes that play over the end credits.

If nothing else, this adaptation of Peter Mayle's umpteenth ode to livin' la vie en Provence will make you wonder about Ridley Scott and the directorial aging process.

What we're left with -- Kubrick or no -- is a muddled, messy disaster of a film, something that seems more like a drastically edited miniseries, cut down to incomprehensible levels with whole sections missing.

Worst of all, as much as this will be a welcome escape for small kids (and a distraction for parents), it's a frustration that Kendrick is back in this kind of easy, cookie-cutter, disposable frippery.

Opus is an attack on media mouthpieces and mindless sycophants, but its barbs only scratch the surface before the inevitable mayhem takes over.

There’s a difference between being transgressive and offensive, and that, in a nutshell (or roasted chestnut), is the difference between Bad Santa and Bad Santa 2.

It's big, it's loud, it's dumb, and all things considered, it's not completely un-fun.

Mancini's character boils down to a lot of self-loathing and unresolved mommy issues – which is as tedious as it sounds.

The bland script and direction are spruced up by a likable cast.

If you enjoy an occasional taste of mental junk food, you might find Las Vegas Vacation worthy of a springtime dollar-cinema visit. Otherwise, hold out another decade for sexagenarian Chevy in Palm Springs Vacation.

The film might have been redeemed by Ardant's performance as Callas. But for a rare glimpse of the diva's ferocious appetite for life, however, this French actress seems all wrong for the part.

The Sword Art Online – Progressive films were intended to give fans something new, something a little more meaningful, and while Scherzo doesn't completely deliver, it's at least intriguing enough to make you think, "Well, maybe one more level."

Who do you cast when you've got a mid-tier supernatural thriller that needs a low-key but charismatic, talented but not showboaty, and recognizable actor to play one of the leads? Guy Pearce, of course, and without him under Peter's decidedly unpriestly demeanor then middling supernatural chiller The Seventh Day would barely raise a flutter of attention, never mind a spirit.

Williamson's directorial debut is a sad affair, devoid of shocks, surprises, or even his clever trademark diologue.

The movie itself offers few real answers to the problems teachers face.

Although the scares in this movie are minimal, Ernest Scared Stupid nonetheless offers the frightening prospect of yet another installment of the Big E's misguided antics.

There are so many interesting components of Umma that never click, wasting a completely original idea on banality.

The misfits, as ever, must take a back seat to the morality, and the result – while in no way migraine-inducing – traffics in rote truisms.

The actors are all good, although not much rapport is conveyed, despite one hot sex scene.

The Croods: A New Age takes wacky, weird turns, and yet somehow still manages to be dull and lifeless.

Any film in which grande dames Maggie Smith and Judi Dench share the screen is one worth seeing, if only to marvel at their deft skills in the art of acting.