Thanks for Sharing is a bit of a head-snapper in its tone changes, stumbling into flippancy. The light moments are appreciated, but they do tend to undercut the sobriety of it all.

Robert Stone directed the wonderful environmental movement history documentary “Earth Days,” and that earns him the benefit of the doubt for his latest, Pandora’s Promise. He needs that benefit, because what he sets out to do in 87 minutes is upend 50 years of green movement anti-nuclear power dogma.

Late to the game, blandly cast and scripted with every Italian American cliche in the “How to Make Spaghetti” cookbook, it is Eastwood’s worst film as a director.

As Jackass japes go, though, Bad Grandpa was better in concept and in its short, punchy TV commercials than it is as a feature.

It’s just competent, light entertainment.

That doesn’t make Oblivion a bad movie, just a familiar one — generic.

Costner and Garner are good and Langella properly menacing, but Leary has lost his fastball and seems to be holding something back in his quarrel scenes with Costner. Costner has to carry the film, which he does.

First-time writer/director Peter Sattler finds a few surprises to throw at us in this somewhat conventional “Stockholm Syndrome” story.

So even though Signal isn’t great sci-fi, you’d never know it to look at it and listen to it.

That miss-or-hit collection of horror shorts, “The ABCs of Death” becomes more hit or miss with its sequel, ABCs of Death 2.

Before it trips over its own overly complex plot, before the comic leads have exhausted their modestly amusing repertoires, this odd stoner/sci fi creature feature blows out of the gate and threatens - for about thirty minutes - to blow your mind. Then it doesn't.

As “cute and cuddly” as ever, and often downright hilarious.

So while this Spider-Man is, if anything, more competent than the first film it’s still not one that demands that you stick around after the credits. There’s nothing there.

Beyond Outrage reaches above and beyond most Hollywood underworld movies to deliver a tale of righteous revenge doled out only after showing us how much it is deserved.

An 'E.T.' knockoff that works.

In Let Me Explain, you’re never NOT aware that you’re watching a gifted, rubber-faced/rubber voiced performer (his “Laugh at My Pain” concert film was a surprising hit in 2011) work too hard to make inferior material go over.

So yes, even if you know how this story goes, there are moments that work wickedly well in between the needlessly drawn out ones, by which I mean the entire, predictable third act.

White House Down is a corker, real competition for “Fast & Furious 6″ as the dumbest fun you’ll have at the movies this summer.

The script here is pretty stale stuff, with an under-developed side story of the cop (Karen Mok) on Donako’s trail and dialogue (in English and Chinese) that is often banal.

The absurd turns the story takes to serve up streetwise and bloody "life lessons" for the kid will make any parent blanch and any movie lover roll his or her eyes.

The venerable acting firm of Smith-Kline & Scott Thomas make certain that this Paris trip is anything but a waste.

Get Santa is an at-times adorably daft holiday farce.

For all its stunning and stark wilderness settings (Spain and the Canary Islands), its stunning effects, technical proficiency and scriptural cleverness, Exodus is a chilly affair... It’s still an exciting, entertaining epic.

Gooding brings just enough streetwise credibility to make Brown work.

Clooney, for the first time in his directing career (“Good Night, and Good Luck,” “The Ides of March”) never finds the sweet spot, and never quite wrestled the script into a shape entertaining enough to make the liberties he and Heslov took with the facts worth it.

A tragic quasi-musical that never quite finds its way.

Epic isn’t epic, but it isn’t half bad, either. It’s just that as high as the bar has been raised on this sort of animation, this is more evidence that a strong story is worth more than any next generation software.

The laughs follow an overly familiar path, but it’s great to see Grier, one of the bright lights of the seminal TV sketch comedy “In Living Color,” button down this judge and find ways to break formula and make him hilarious.