It isn’t involving enough for you to ever truly care about how these many, many problems will resolve themselves, and not funny enough for the experience to be more enjoyable.

Like so much of The Out-Laws, Brosnan and Barkin are both a little better than they need to be, and also a lot better than their material demands.

The film arrives at its last shot with a sense of purpose, but Cedar’s clumsy plotting and uncharacteristically sterile compositions suggest that he’s charted the least enjoyable route to the film’s satisfying finale.

Greg Tiernan and Conrad Vernon’s animated The Addams Family introduces the Addams gang to a new generation by way of a retrofitted origin story that shakily attempts to hold fast to its original charms while cramming it inside decidedly modern trappings.

It’s obvious that Robles can inspire people, but the film constantly pokes the audience with explicit reminders of this fact — including a scene where Lopez reads Anthony multiple letters written by children saying that they’re inspired by Robles — that it feels downright insulting.

Split avoids being entirely tedious thanks to McAvoy’s standout performance as he cycles through those personalities, sometimes from line to line.

By the time Apostle arrives at its big reveal, the movie has veered off on so many tangled pathways that the ending can’t resolve them all. Instead, it provides a single, ethereal image that hints at the more imaginative possibilities lurking somewhere inside this bloody mess.

Trocker’s second feature (following 2016’s “The Eremites”) never quite manages to make good on its gamesmanship and only allows itself to have any fun once it’s sure that nobody else is.

The Old Guard 2 is frustratingly — if also pointedly — rushed for a movie about people who’ve been alive for eons, and it never gives any of its characters the chance to meaningfully hash out how the bonds of friendship might pull tighter as they get twisted over the course of a few hundred decades.

In trying to squeeze a half-dozen life stories into its running time, Hands of Stone, the new film about legendary Panamanian boxer Roberto Durán, magnifies that disappointing mistake.

Flashier stuff isn’t up to task, from awkward character design (the adults are, let’s just say, crafted with less care than the kiddos) to shoehorned callbacks and an over-reliance on exposition to push story points that could stand a more artful approach. The mind-bending nature of this series doesn’t help matters. (

Once again excelling, Zellweger has much to do with the safe transition of this new Bridget, maintaining all the old quirks and sweetness, but in a believably more mature shell.

Paranormal Activity 3 hardly adds anything new to the situation; instead, it pretends to fill a gap while basically just heaping on one calculated "boo!" after the other.

The 2020 Call of the Wild isn’t all-out atrocity so much as a question mark, a formulaic adventure story spruced up with cutting-edge technology in search of a purpose.

Intentionally or not, however, Fading Gigolo actually functions as something of a statement on Allen's persona—onscreen and off—as it has been understood in the public eye. And the resulting conclusion, like the movie, is a decidedly mixed bag.

Eventually suffers from a lack of new ideas beyond its initial premise that finds the two brothers inadvertently swapping roles. Once that happens, the movie takes one bland twist after another.

Even if the film‘s ridiculous premise is at least chuckle-inducing — and sold rather convincingly by a cast that all seems to be on the same page about how stupid it is — its convoluted MacGuffin and predictable twists ensure that no amount of expensive action sequences from director Julian Farino or genuine chemistry between Wahlberg and Berry can elevate “The Union” into something worth watching.

I couldn’t help but try to read a bit deeper into how these characters rhyme with each other, especially since Egerton is so game to go nuts, and Theron — ever the reliable action star, radiating strength through a clenched vulnerability — is as human as he is cartoonish.

Lone Survivor is a grotesque action movie at times impressively directed by Peter Berg that combines the brute masculinity with the ugliness of the battlefield and viscerally unsettling shock value. But it's less a depiction of courage than a brutish magnification of anger and pain, both of which it conveys a lot better than the high ground that it reaches for.

While the raw material for something twisted and operatic exists here, Leblanc is too committed to putting meters of space between herself and the material to fully absorb the viewer. The motivations for that choice, however arty, are uncertain.

On its own terms, “Ice Road: Vengeance” is not a terrible movie. Neeson’s mediations on finding ways to grieve without putting your entire life on hold offer more emotional depth than you’re likely to find in any direct-to-VOD action movie with “Vengeance” in its title.

An uneven, intermittently thoughtful but largely preachy overview of WikiLeaks' rising influence that has less of an issue determining Assange's character than it does with telling a compelling story.

There’s a fine line between awe and tedium, and sometimes not even Chris Hemsworth is able to blur it for us.

Despicable Me 4 already feels like six episodes of just such a show, crammed into a single unwieldy, disconnected, and oddly episodic outing.

Although he races through the occasional blasts of gritty action, Roth slows things down whenever Paul corners one of the people who killed his wife, the director sinking his teeth into long torture sequences or terse dialogue scenes that are punctuated with shocking flashes of gore.

The bigger these movies become, the smaller they feel. The more aggressively they reach for greatness, the more clearly they prove that its beyond their grasp. Marvel movies don't get much better than this. The trouble is, they don't want to.

Whatever inherent value there might be in gender-flipping such a generic template is mitigated by the movie’s reluctance to seize on the unique energy that its women bring to the table.

It’s intermittently funny, mopey, and tense, sometimes totally off-base but certainly ambitious in its approach.