Cars 3 is a lovely, clever and entertaining generational tale with tons of heart, a simple and effective storyline, wonderful candy-colored visuals and winning voice work from the talented cast of returning regulars and welcome newcomers.

In this haunting, darkly funny and elegiac mood piece, Cranston once again displays a nearly unparalleled ability to make us like and care about men who are selfish and impetuous and reckless — yet still seem to have a core of decency buried deep within.

That’s when It Comes at Night is most effective — when we’re trying to figure out these characters and what exactly is creating those weird noises and jolting thumps beyond the locked doors.

The Mummy is so wall-to-wall awful, so cheesy, so ridiculous, so convoluted, so uninvolving and so, so stupid.

Kate Mara delivers one of the best performances of her career in the title role.

On the stage, it could be a powerful and moving work. As a movie, it’s a sometimes effective but more often tedious history lesson.

Writer-director Martin does a stellar job of balancing sketch-comedy style laughs with genuinely touching moments.

Director Patty Jenkins’ origin story is packed with heart and empathy, and we have Gadot’s endearing performance to thank for that — but it’s also a byproduct of the timeline.

It’s deliberately over the top, and I wouldn’t be surprised if some observers say Pitt made huge miscalculations in his acting choices with the result being the worst performance of his career — but I found it to be a brazenly effective piece of work, well-suited to the material.

The twist on top of the twist was so amateurish, so hacky, so insulting to the viewer, I’m already thinking about apologizing to you guys for just the one-star demerit.

By its nature, “Adios” lacks the thrill of discovery of Wenders’ doc. But like the 1999 film, it pulls at the heartstrings and never lets up.

When you make films from junk TV, more often than not you’re going to wind up with a junk movie.

"Dead Men” works well enough as a stand-alone, swashbuckling comedic spectacle, thanks to the terrific performances, some ingenious practical effects, impressive CGI and a steady diet of PG-13 dialogue peppered with not particularly sophisticated but (I have to admit) fairly funny sexual innuendo.

Virtually every single element in Everything, Everything rings false and manipulative — and that’s BEFORE we get to a Big Reveal so contrived, so insanely implausible, so monstrously tone-deaf, we can see the entire movie plunging off a cliff, landing with a sickening thud in the Land of the Worst Movies of the Year.

You might think a documentary about the obituary writers at the New York Times would be a depressing, sobering, scholarly work — but it’s anything but.

The presentation is gorgeous. The actual meal is nothing but empty calories.

At its core, “Covenant” is a glorified monster movie, with some great “gotcha!” scare moments and, yes, a number of scenes in which a number of supposedly super-smart characters do some really stupid things that get them killed dead-dead-dead.

Liev Schreiber is outstanding as the hulking, rough-edged, amiable and charismatic Wepner.

This is a monster movie disguised as a war movie.

The Lovers gets a tad too theatrical in the last act, and the deeply cynical resolution might not sit well with everyone. (I thought it was just about perfect.)

The tantalizing enticement of Goldie Hawn pairing with Amy Schumer for a mother-daughter, road-trip buddy comedy has some moments, but never fulfills its promise. As their onscreen adventures and antics grow zanier and broader, the laughs actually grow softer and more sporadic.

In its finest moments, King Arthur: Legend of the Sword is swift and clever and exhilarating. At its low points, King Arthur: Legend of the Sword plays like a cheesy B-movie, with ridiculous monsters and unintentionally laugh-inducing moments.

Almost nothing about Illicit rings true — but thanks to the likable, earnest and attractive cast, and the semi-salacious, soap-opera vibe to the proceedings, my attention never wandered, and I’ll admit I was mildly curious about how everything would play out.

Risk is filled with dramatic scenes straight out of a spy thriller.

As you might expect from this cast, all four leads are simply outstanding.

Like many a sequel to a slam-bang, much-liked mega-hit, Guardians of the Galaxy Vol. 2 isn’t quite as much fun, not quite as clever, not quite as fresh as the original — but it still packs a bright and shiny and sweet punch.

I don’t think you and I need to connect on InstaSkypeChatFaceSnapTweeterBook for you to understand I’m saying we’ve seen this movie before. It’s just usually not this smug or condescending or muddled or inconsistent.

In a film about a magician, the most impressive trick in Sleight is how director and co-writer J.D. Dillard is able to spin such a memorable and unique tale on a micro-budget.