Schumer is doing another slightly tweaked but virtually indistinguishable variation on the same wisecracking, self-deprecating, insecure, if-only-she-could-see-her-wonderfulness underdog she’s played before. She’s clearly in her comfort zone and she eventually wins us over in this uneven, hit-and-miss, broad comedy — but here’s hoping the next time around, she tries something new.

Joaquin Phoenix has never been shy about going big if the role called for it — and maybe even if the role didn’t necessarily call for it — but his performance here ranks as one of his best because of what happens between the outbursts.

Rampage might not be the worst movie of the year so far, but it’s a contender for most pointless.

As the film takes deeper and darker turns, it also becomes something special, something unflinchingly honest, something that will punch you in the gut AND touch your heart.

The stakes in Beirut are deadly serious, but the film itself is not presented as a major political statement or commentary beyond: The more things change, the more they stay the same. This is an old-fashioned spy thriller, and as such it succeeds.

Blockers becomes less interesting and less funny as the onscreen hijinks grow more outlandish and stupid and demeaning and crotch-oriented.

Chappaquiddick does a remarkably economical job of encapsulating the madness of that week without overwhelming us with historical detail. The story moves from moment to moment, day to day, with clarity and great dramatic effect — and (rightfully) condemns Kennedy’s actions without turning him into a monster.

A Quiet Place doesn’t have the pin-you-to-your-seat originality of “Get Out,” or the psychological depth and pure scare impact of “Lights Out” or the wall-to-wall intensity of “Don’t Breathe,” but it is one of the smarter and more involving horror films of the last few years.

Final Portrait has the feel of a work that might be quite effective on a modest stage in a small theater. As a film, it’s well-made and the performances are fine, but it feels slight and thin and inconsequential — quite the opposite of the work Alberto Giacometti left behind.

It’s smart and different and sometimes deliberately odd and really funny — rarely in a laugh-out-loud way, more in a smile-and-nod-I-get-the-joke kind of way.

You need to see this one on the biggest screen possible, and let it wash over you as if you had stepped inside the most incredible video game experience ever created — one in which events in the manufactured universe can have lasting and serious real-world consequences.

Directed with creative style by Anders Walter (with a screenplay by Joe Kelly, adapting his own comic book), I Kill Giants is a good-looking adventure fable that makes great use of the Northeastern coastal locations.

Midnight Sun is cheesy and implausible and manipulative, but it did chip away at my cynicism through the sheer force of its corny and sincere heart.

Claire Foy (“The Crown”) delivers a smashing performance.

It’s an impressively staged, well-acted, thoughtful and faithful telling of the last days of the Apostle Paul — and how Luke risked his life again and again to visit his great mentor in prison and make a written record of Paul’s life experiences and teachings.

Whenever Pacific Rim Uprising gives itself the chance to do something fresh or unique or original, it passes up that opportunity to embrace the cliché.

A wonderful, uplifting, endearing, thoroughly entertaining story.

From start to finish, director/co-writer Armando Iannucci (creator of HBO’s brilliant “Veep”) delivers an audacious and insightful and ridiculous and hilarious send-up that reminded me of the classic Monty Python films of the 1970s and 1980s.

Vikander is in nearly every scene in the movie, and she’s absolutely terrific. Endearing and funny in the early scenes in London, easy to root for as she dives into the cartoon of an adventure. Of course Tomb Raider sets the table for future adventures, but if the future chapters are to be this silly and disposable, one hopes Vikander moves on as quickly from this film as I did as a viewer.

[A] disappointingly listless thriller, in which at least four of the titular seven days feel like place-holders, with everyone holding their positions and regurgitating the same concerns and regrets and debates.

With a movie like this, either you’ll tap out after 15 minutes or you’ll settle in for an evening of popcorn and beverage-of-your choice escapism.

Director Johannes Roberts is clearly a fan of films such as “Christine” and “Halloween.” The production elements are first-rate, including the expansive setting that includes multiple cabins, a playground and a swimming pool.

Movie magic is an elusive thing. A Wrinkle in Time is a bold film that takes big chances from start to finish, in a courageous effort to be something special.... But for all its scenes of characters flying and soaring and zooming here and there, it never really takes off.

Again and again, Death Wish feels anything but real.

[An] uneven but timely and quite funny feminist satire.

There are more than enough laughs and clever surprises in this broad and sometimes violent farce to warrant a recommendation, thanks to a solidly funny script by Mark Perez, some pretty neat camera moves and choreographed action/comedic sequences from directors John Francis Daley and Jonathan Goldstein — and a likable and talented ensemble cast, led by two of my favorites.

Rogers Park is poetic and lovely and muscular and unforgiving at the same time, much like the area itself and the city as a whole.

Garland (adapting a novel by Jeff VanderMeer that is the first of a trilogy) does a masterful job of building the mystery, dropping plot hints like so many bread crumbs, jolting us with “gotcha!” moments.