Sleepless is a passable thriller, but it won’t keep you up for nights.

The most distressing thing is the complete lack of accountability for Tripp and Creech’s destructive joyride, which results in a significant amount of vehicular damage and possible human injury.

For the majority of filmgoers, Beckinsale is Selene. It’s not the worst legacy for an actor, and she’s managed to keep her character prideful yet vicious, film after backstabbing film. (Did I mention the catsuit? Va va voom!)

To its credit, the film doesn’t linger unnecessarily over the horrors, and quickly turns into a police procedural. As the FBI takes over the investigation from the local authorities and sets up a command center, the details of this process are fascinating to observe.

Before a foot of film was ever shot on Live by Night, Affleck had already made a decision that would be the film’s undoing. He cast himself as the lead.

The borderline campy The Bye Bye Man is a horror movie in search of an urban legend. Based on a chapter in the 2005 collection of allegedly strange-but-true paranormal tales "The President’s Vampire," the premise is second-rate Stephen King.

Essentially a chamber piece for Brian Cox and Emile Hirsch (and Olwen Kelly, who plays the lifeless Jane Doe), the film benefits from the actors’ skills and their believable father/son rapport.

Toei Animation has done their usual bang-up job on the 2-D animation, filling nearly the entire running time with skirmishes, melees, and battles royal beyond compare.

Even when the film doesn’t hang together perfectly, MacDougall maintains its momentum as his character painfully journeys toward a sense of acceptance. It may be only a few days into 2017, but this is a performance that you’ll remember for the rest of the year and beyond.

While Hidden Figures is likable and illuminating, it is, nevertheless, routine and predictable.

Silence is Scorsese’s mode of sharing the Holy Communion. To that, every cinephile will say, “Amen.”

Luckily for Franco, Cranston makes for the perfect comic foil in Why Him?.

It’s a tonally imperfect film that’s nonetheless ideal for holiday viewing, a respite from "Rogue One" perhaps, or simply an exciting, old-school explorer’s tale well told (for the most part).

This is Denzel Washington’s third at bat behind the camera while directing himself and, holy smokes, does he knock it out of the park with a vicious, visceral performance that fairly sets the screen ablaze.

Michèle is a daring, complicated character – one that Isabelle Huppert brilliantly creates in concert with the director, Paul Verhoeven.

The movie is cute but predictable.

It’s nowhere near as soulful or questing as "2001" or "Moon" – but as popcorn entertainment, it’s surprisingly provocative.

Jackie has a nightmare vibe to it that’s palpable and unsettling, and Portman’s performance as the widowed first lady is a tour de force of conflicting emotions brought on by the impossibly ghastly reality bookending that sunny day in Dallas.

Assassin’s Creed is a dour, lifeless film that leaves those familiar with the material perplexed, and those ignorant of it downright clueless.

It’s almost criminal to have to stay in your seat when the contact high of La La Land is goosing you to grand jeté in the aisle. The heart, at least, is at liberty to swell to bursting.

Collateral Beauty is ultimately as mushy a movie as the phrase itself, whose definition is never fully explained by the script. It’s another example of something sounding good but meaning little.

It starts off slow and somewhat clunky, but by the time the mind-blowing third act arrives, it’s all a fan can do not to stand up and cheer.

Slash is an endearing, sweet, and altogether badass ode to being young, weird, and subversively creative.

Do not count on Office Christmas Party to deliver a contact high. Yes, there are laughs to be had, but not the off-the-charts merriment promised by the title and the film’s expert cast of comic actors.

The film is less successful at exploring the chinks in her armor – the stuff that makes her human, and a person of interest. Chastain is great – she’s always great, right? – and the brittle braininess she radiates is the film’s crowning seduction.

Incoherent mashup of previous demonized tyke films and unfailingly inept pseudo-science and the result is about as devoid of suspense, much less genuine horror, as this specific sub-genre can be.

The horror imagined by Évolution does not depend on the genre’s familiar tropes but instead its arousal of dread and fear, not unlike Guillermo del Toro in "The Devil’s Backbone," in which the peril is intuited rather than defined.

A quicker overall pace and trimmed dialogue might have lent the film more sparkle and zest, but it still makes it to the finish line with its decency intact.