Ewan McGregor is a versatile and durable actor who has spent a lot of time on film sets, and someday he might become an accomplished filmmaker, but his feature directorial debut is one of the most unfortunate literary adaptations in recent memory.

The whole thing is just so sloppy and dumb and overflowing with clichés.

The performances are strong, even if the characters aren’t given much depth.

If you think Kevin Hart is funny — as I do — you’ll laugh frequently, as I did. If you don’t, you’re not going to this movie in the first place, are you?

Madness abounds in The Accountant, an intense, intricate, darkly amusing and action-infused thriller that doesn’t always add up but who cares, it’s BIG FUN.

At times the symbolism grows repetitive, and the running time of 2 hours, 42 minutes admittedly tested my attention span on occasions — but this is an original, sometimes breathtaking depiction of a certain slice of American life.

A powerful but often stilted drama bolstered by two great performances from accomplished actors and nearly sunk by an unfortunately (and surprisingly) off-key performance from another fine actor.

Parker reaches with both hands for greatness and falls short — but this is nevertheless a solid and strong and valuable piece of work.

It’s shiny trash that begins with promise but quickly gets tripped up by its own screenplay and grows increasingly ludicrous and melodramatic, to the point where I was barely able to suppress a chuckle at some of the final scenes.

Saylor has created a character who will haunt you for some time after you leave the theater.

This is a messy, confusing, uninvolving mishmash of old-school practical effects and CGI battles that feels … off nearly every misstep of the way. It’s like watching a master musician play a piano he somehow doesn’t realize is out of tune.

It’s a well-made, sometimes horrifyingly realistic re-creation of events — but it often feels like a formulaic disaster film.

This still works as a solid Disney sports movie because of the remarkable story, Mira Nair’s energetic and uplifting direction, and one of the most endearing casts I’ve enjoyed in any movie this year.

Over all, this is a rousing, albeit sometimes cheesy, action-packed Western bolstered by Denzel Washington’s baddest-of-the-baddasses lead performance, mostly fine supporting work, and yep, some of the most impressively choreographed extended shootout sequences in recent memory.

From start to finish, this film seems strangely out of touch, never more so than when it tries to come across as enlightened.

Snowden works best when it’s just Edward and the three journalists in that hotel room, sweating it out, or when we see the pattern of events that led him to commit acts that exposed the shocking practices of our own government but also quite possibly created serious security breaches.

Big kudos go out to screenwriter Barrett for creating a script that throws out so many curve balls. Just when you think the story is going in one direction — you get some nice jolts and surprise twists

What’s missing is musical or cultural context for the Beatles’ explosion.

Some movies swing for the fences — and either strike out in big-budget, spectacular fashion, or hit a home run. Others, such as the smart, lovely, funny, occasionally edgy, slightly cynical and ultimately heart-tugging Other People, are the equivalent of the singles hitter in baseball — content to accumulate one small and legitimate successful moment after another.

Sully is an absolute triumph.

The Hollars is an uneven, ineffective and self-conscious dysfunctional family comedy/drama with a Sundance-y vibe, and scene after scene in which the greatly talented and usually quite likable cast members keep stepping in big piles of wrong choices.

The only thing worse than the first three-quarters of Morgan is the supposed payoff, which veers from the dumb to the really dumb to the so-dumb-you’ll-hardly-believe-it. This is one of the worst movies of 2016.

The biggest reason to see the Italian dramedy “Mia Madre” can be summed up in two words: John Turturro.

A gorgeous but plodding and borderline ludicrous period-piece weeper.

It is Christmas who steals every scene, and rightfully so. The teen actor is so engaging and endearing (despite his character’s penchant for foul language); his screen presence at such a young age is a wonder.

Writer-director Jonathan Jakubowicz’s Hands of Stone is a rousing, well-filmed and solid (if at times overly generous to Duran) biopic with a bounty of charismatic performances, two of the sexier scenes of the year, some welcome laughs and a few above average fight sequences.

While A Tale of Love and Darkness is often difficult to watch — because of all the sadness it presents — it is also a beautiful film in that it makes us think about existing in a world where we do not completely fit in.

Don’t Breathe is an impressively photographed, well-acted, relentlessly paced horror film sure to sicken some and delight others with its twisted sense of humor.