Firth, who can still be a heartthrob when he wants, douses the smoldering embers of old romance and turns Archibald completely tense and awkward. It’s a wise choice that makes his eventual transformation more poignant.

At its best, the film just sits back and lets the weird times roll.

Basically the Mike Tyson saga reduced to its B-movie essence.

So exploitative and misogynistic that its last-minute dramatic turns and pleas for tolerance and understanding come off as manipulative as its heroine.

Concert sequences are engaging, though I was disappointed not to see any animated flourishes.

While I have no argument with Leeson's political views, her presentation -- mostly a succession of talking heads -- is dry and uninspired. These women deserve better.

If “Once” was a bracing blast of cool spring water, Begin Again is a can of Fanta. If “Once” was a piano, Begin Again is a keytar. If “Once” was Otis Redding, Begin Again is Bruno Mars.

This atmospheric, cool-looking but gimpy thriller based on a John le Carré novel makes “Tinker, Tailor, Soldier, Spy” look like “22 Jump Street.”

The presentation is conventional in style but uplifting in spirit, and worth seeing even if you know nothing about basketball.

Directed with sledgehammer subtlety by Dennis Dugan ("I Now Pronounce You Chuck and Larry").

Hugh Jackman, as a (fictional) former American jumper named Bronson Peary, enlivens things a little.

Refreshing as it is to see the military portrayed as something other than a band of neurotics and creeps, there's a reason this brand of rah-rah and bang-bang didn't outlast the age of Whitesnake and Marty McFly.

A mildly funny, stereotype-stuffed comedy.

Anderson’s film is told via a prologue and three episodes that bring to life the quirky publication’s stories. They just barely engage the audience as we watch the director’s entire mobile phone contact list show up for about 15 seconds each.

Deschanel manages to make Winter Passing almost matter. That's real talent.

Everyone's Hero, a tame CGI cartoon for the simple-minded: the very young, the very old and Yankee fans.

Carell’s niche right now isn’t awkward anchormen, but parents going through hell. He makes a believable dad to the equally moving Chalamet, who writhes, screams and cries, but never showboats. The perfect pair is better than this movie.

Kelly & Cal is at its best when focused on Lewis and Weston.

The film is never gripping, but at least it moves. Director Ron Howard does his best to spark excitement with cheesy horror-movie editing — brief shots of the damnation in store if the virus is unleashed — and there are a couple of twists to keep things lively. Nothing is what it seems, unless it seems ridiculous, in which case it’s exactly what it seems.

So it's not only how they dance, or even what they dance, but why they dance. And that makes Tavernier's movie muddled, simplistic and more than a little pretentious.

Turns out to be an exercise in flatulent pretension, puffed up with a bogus, empty "spirituality" and dependent on a plot filled with implausibilities.

Despite the film’s wispiness, though, there is always something compelling about Waterston, who is usually the best part of any film she’s in (see also: “Inherent Vice,” “Alien: Covenant”).

Like Cam, Tracers is fun to look at, if not too bright, and even includes a line I can only assume is a winking reference to Lautner’s claim to fame: “There can only be one alpha in every pack.”

A very elegant and fit-looking Omar Sharif appears as the on-screen narrator and Kate Maberly ("The Secret Garden") plays his granddaughter in a framing story.

Despite the dramatic dystopia, performances here are uniformly low-affect, which isn’t helpful given the exposition-heavy dialogue and unremarkable set (though Nick’s extraterrestrial visions have a pleasantly kitschy look). Also puzzling is the fact that the pivotal song is not actually performed by Morissette.

It may take a scorecard to keep track of the complicated relationships in this sorry clan.

These characters, especially the uninteresting primary couple, can't sustain almost two hours of movie. Overall, BearCity 2 deals in mild amusement, not wit.

Wright is relaxed and almost meditative as she takes in the beauty of the horizon, and her simple directing captures the majesty of nature.