A big disappointment.

Wish You Were Here goes to a dramatically gripping place of guilt and doubt; if only its grip had held just a bit tighter.

It's hard to think of a single memorable line from Restaurant, even a memorably bad one.

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.

Wood’s energetic, tightly wound performance carries the movie; his ability to juggle all the different information coming at him — keeping time on the piano while speaking and hitting his cues — is admirable and probably exhausting.

The Boxtrolls is a swing-and-miss for Laika; when you move forward with revolutionary techniques while standing still in terms of your themes, stories and settings, no amount of technical trickery or animation genius can bring the boring to vivid life.

Denis Villeneuve’s Enemy might have the scariest ending of any film ever made.

It’s clean, lean and smart.

[The Kings of Summer] is a wonderful mix of innocence, laughter and beauty that is enjoyable in the moment, yet it’s almost entirely forgettable. With too many odd asides and complications, what should have been a straightforward journey into self-discovery and the difficulties of growing up is waylaid by unnecessary moments and slightly self-indulgent filmmaking.

Mildly amusing, both charming and diverting, it plays like a La La Land home movie.

Much like Brandy, “List” tries and tries and tries to get the job done, but frankly, the satisfaction only ever comes in spurts.

The single best thing about Stuart Little is Nathan Lane.

Worth a look, even if it doesn't quite find the internal logic it seems to be searching for.

The adherence to specific facts and actual events hampers the film, as it often does biographical movies.

A movie that keeps you wondering about its characters' true feelings and motives long after you've left the theater.

It's darker, stranger and pushes more buttons.

This is a franchise entirely comfortable with what it is, what it’s not, and what it has to offer. It has a whole mess of “Fast” for us all, and woe be the souls who enter this film hoping to go slow.

With Muppets Most Wanted, the vaudevillian pandaemonium is alive and well.

Xiaoshuai isn't really interested in glamorizing or even exploring the gangster lifestyle; nor is he interested in conventional dramatic arcs.

While writer-director Frank Darabont often fails to make King's story plausible, that's no fault of the actors. The performances are the movie's strong suit.

More aggravating than endearing, although there’s an interesting idea buried beneath all the cutesy plot details.

Wargnier is also a lousy storyteller who seems not to understand how to shape a narrative.

But it's the boy and the dog who make My Dog Skip resonate. The formula may be an old one, but it's still a good one.

A shapelessly propulsive mess of pop psychology and poor drama.

A class act, from top to bottom.

Subtlety is hardly at home here, with Quaid’s especially earnest performance a well-suited mask for Henry’s desperation that nonetheless amplifies the phoniness of the entire enterprise.

Frankly, Elysium is a bit of a liberal’s wet dream: the good guys want accessible healthcare, while the bad guys want to do away with undocumented immigrants.

The Wolverine reveals itself to be a film in desperate need of a point, in dire need of consequences and in a wandering search of any semblance of emotional weight.