Berry knows how to seize the center spot and hold on tight. In Kidnap, she gets quite an exhausting workout, and so does the audience.

An odd, confusing, ugly and mostly indigestible movie about religious hysteria and rock 'n' roll-two subjects I find about as interesting as opening a tattoo parlor. I wish I liked the movie half as much as I like the actor.

Heart of Stone is happy to take its cues from predecessors in the spy genre—which isn’t a problem in and of itself. The formula does still work, but the sum of the movie’s parts doesn’t quite add up the same.

The movie has nary a thought in its red-hooded head, only a lot of blood.

Made and marketed for the sole purpose of shock and schlock. It succeeds as both, but the result seems psychologically bewildering and pointless.

A real-life story with social issues about capitalism that is entertaining and funny while it makes you think, without being too earnest and serious.

Swimming with Men doesn’t tackle the plight of middle-age in any relevant new way, but even though it’s not a great film, it’s not a waste of time. Oddly enough, it’s been playing on airplanes for months. Catch it now, on dry land, before they empty the pool.

In its best moments, The King’s Man feels like you and your friends have just dumped out your great grandfather’s dusty crate of tin soldiers to create a game that has no rules whatsoever beyond doing something ridiculous. But the movie’s politics? Ugh. They are the cinematic equivalent of your British uncle complaining about cabbies with foreign accents or claiming that Brexit didn’t go nearly far enough.

Written and directed by Garth Davis from a 2018 novel I never want to read by Iain Reid, Foe is not just a bad dream. It’s a colossal nightmare.

Next Goal Wins is an empty quasi-comedy, filled with cliche jokes and tired bits.

Although it has a calm and intriguing noir-ish style (up to a point), there is nothing lucid enough to recommend about Manhattan Night, including the film itself.

A thriller with no thrills.

Walking With the Enemy is a powerful piece of filmmaking that examines history and heroism with big-screen artistry, imagination and thrills.

A tale of trauma and survival, Where Hands Touch is grim, compelling stuff, but the tireless humanism of the two leading characters makes it undeniably moving, aided by the careful and empathetic guidance of British writer-director Amma Asante (Belle, A United Kingdom).

If there is a breakout role in Millers, it is that of Will Poulter, the 20-year-old English actor who played Lee Carter in 2007’s "Son of Rambow." As Kenny Rossmore, the hapless neighbor who ends up playing the teenage son of Ms. Aniston and Mr. Sudeikis during their version of National Lampoon’s Mexican Vacation, Mr. Poulter strikes a perfect comedic balance between sweet savant and pop-culture lech.

Some characters are introduced and never fully explored. Others disappear without a trace, leaving the impression that key elements have been left on the cutting room floor. For Timothée Chalamet, one hopes for better luck next time.

The actors are fine, but the material doesn’t give their talents much room to stretch.

I can’t imagine any film starring Jane Fonda to be a total loss, but This Is Where I Leave You, a vulgar, inept and gruesomely contrived load of junk misleadingly labeled a comedy comes perilously close.

For an alleged psychological thriller, The Night Clerk has no thrills, suspense or tension.

It will more than likely meet fans’ expectations for what they want in a Mortal Kombat movie but will fall short of exceeding them.

Staying awake during this ordeal of incompetent, incomprehensible stupidity is not difficult. It’s so noisy that you can hear it in the next town. Staying interested is something else entirely.

It all sounds dreadful, like the pilot for another brainless comedy series on network TV, but it grows on you.

While diverting enough for its forgiving 98-minute runtime, Night Swim neither sinks nor floats. It just wades in the waters of “whatever.”

American Pastoral tries to be loyal in its adaptation, but the material is film-resistant and flat as cardboard.

The Vow is not exactly a woman's picture. It's more about how a man falls in love, loses his love and gives up everything in life to focus on regaining his love. Maybe it's a woman's picture from a male point of view. However you slice it, it's a welcome loaf-far from perfect, but as filling as a home-cooked meal.

All told, Equals is a feast for the eye that leaves you with a troubling contemplation of the future.

Not simply a worthy addition to David Fincher’s vastly under-appreciated "The Girl with the Dragon Tattoo" franchise (they’re calling it a “soft reboot,” but there’s nothing soft about it), The Girl in the Spider’s Web is also a top-shelf Batman movie. For good measure, it kicks the butt of the last few Bourne installments too.