An amiable cast and a satisfying enough story make The Hundred-Foot Journey stick to your ribs, even if it’s hard to swallow early on.

The only thing moviegoers will hate more than the phony, faux-felt conversations of About Alex at its worst is the unfulfilled promise its high points suggest when it’s at its best.

Teenage Mutant Ninja Turtles isn’t a movie; it’s a brand re-launch that’s going to satisfy stockholders far more than it’s going to entertain the people who paid to watch it.

Taylor’s film so egregiously picks and chooses from Brown’s life that the result is a holey and unsatisfying document that fails to give due respect to much of the singer’s life (especially the more unsavory stuff).

[A] blend of classic sci-fi fare and current pop-culture irony is what rockets “Guardians” into the stratosphere.

A nice enough reminder that as time goes forward, we have to as well.

Even Besson’s most bold choices – and this is a film that goes weird, and then just keeps getting weirder – don’t seem so revolutionary when packaged in such well-tread trappings and increasingly shoddy writing.

This picture isn’t as showy or obvious as one of his (many) masterpieces, but it is quite good and deserves your time and respect.

The Purge: Anarchy expands on its predecessor, but the excellent news is that the sequel isn’t just bigger and badder and bleaker; it’s also better, smarter, stranger and tougher.

Despite being clever and crafty it can’t break out of the curiosity shop. It’s the finest diorama in there, but something to admire, linger over then move past.

[Aja] has outfitted Horns with enough talent that the film is rather easy to admire aesthetically. The problems are more foundational, even conceptual—and they are thus harder to reconcile.

Serkis’ Caesar gets more than his fair share of rip-snortin’ badass moments. He’s arguably the finest leader of men we’ve seen on screen since “Lincoln.”

It’s not exceedingly original, it is well-made and a solid entry into the subgenre.

For all its darkness, [it] never really scares up anything new.

Basically a drama-in-disguise. Unfortunately, it’s a formulaic and extremely uneven one, albeit with a number of sympathetic performances.

Either I’m getting dumber or the “Transformers” sequels are getting more coherent.

Baena takes a well-tread road, leaving behind the guts of his promising story and never capitalizing on the charms of either romance or his leading lady.

his bleak and somewhat sadistic picture is the type of movie that unfolds like a slow car wreck. You know something bad is going to happen, you just aren’t sure what, or how, and when it eventually happens it is repulsive and yet you still can’t turn away.

Snowpiercer is bold and brutal and committed, but no setting, no matter how inventive or beautiful, can compensate for storytelling that strains plausibility even as it batters your senses and sensibilities.

It’s all, quite strangely, boring.

Eastwood, who once upon a time was a flavorful director, is working in movie-of-the-week mode here. Cheesy, direct, bland.

22 Jump Street is a success, as there is a little good ol’ fashioned “heart” beneath its post-modern veneer.

The film has enough charm and humor to keep it appealing to a wide audience, and dumbing things down doesn’t feel particularly smart or canny, and proves to be a minor distraction to an otherwise majorly entertaining feature.

A mix of forward-looking sci-fi, classic themes, deft plotting and superb writing and direction, Edge of Tomorrow may be the pure-pleasure blockbuster to beat this Summer.

A relentlessly unfunny, charmless send-up of better films with better ideas.

Sound nonsensical? It is.

Even when it seems mercenary and muddled, X-Men Days of Future Past is enjoyable and well-made and actually about character, a necessary shot of adrenaline born of both inspiration and desperation for a franchise that desperately needed one.

A dark, dreary and dull “Mad Max in Neutral” from director David Michôd (“Animal Kingdom”) that tries to pass off its blunt narrative and repetitiveness as some sort of style.