Labored and boring, The Mountain Between Us is a soap opera in the snow that fritters away the time and talents of Kate Winslet and Idris Elba for all the wrong reasons.

Eventually The Florida Project (the working title Disney gave to his dream in its planning stages on the drawing boards) sucks you into a world you would never otherwise know anything about.

Walking Out is a skillfully made thriller with a pair of very talented actors who knock themselves out, in more ways than one, to guarantee that it never becomes boring.

Shot is sobering, suspenseful and exemplary.

Hack director Doug Liman (The Bourne Identity) is lucky to engage Cruise’s box-office appeal for a tale that otherwise would never have seen the light of day.

The movie is so carefully observed and quietly calibrated as the old man moves from one scene to the next, as unobtrusive as a lap dissolve, that you can’t tell Harry from Lucky, or vice versa, and it doesn’t take long before you stop trying.

A trite little comedy so jumbled, disconnected and bad you can’t believe it doesn’t star James Franco. Instead, it fritters away the talents of the charming Justin Long, a seasoned and resourceful actor who deserves much better.

Grim and hopelessly despondent, but superbly acted and strangely effective as crime on the screen goes.

Judi Dench can do no wrong, and playing Queen Victoria for the second time in the richly satisfying Victoria and Abdul is an acting lesson par excellence that proves how rapturous it is to watch this great artist do everything right.

The movie, as relevant now as the story was then, lacks the same spark as live tennis, but the two stars are equally dynamic and unforgettable as the original players. You won’t be bored.

Nothing about mother! makes one lick of sense as Darren Aronofsky’s corny vision of madness turns more hilarious than scary. With so much crap around to clog the drain, I hesitate to label it the “Worst movie of the year” when “Worst movie of the century” fits it even better.

The surprising results are unlike anything I’ve seen lately, and the best surprise of all is a funny, inspired and career-enhancing star performance by Ben Stiller that left me touched, applauding and laughing out loud.

Salinger fans never seem to tire of new revelations about the man or his work, so if this is the kind of material that interests you, it should keep you sated until the next one comes along. I recommend it highly.

The Good Catholic is a sober, thoughtful and well-made little gem about a young priest torn between his dedication to God and his sudden physical and emotional attraction to an unconventional woman who forces him to question his faith and his purpose. It’s a small film in every way, but I found it riveting.

With so much to look at and a plot to digest as thick as Dutch cocoa, it is not without a few problems, but I found this astonishing movie so rich and satisfying that I liked it in spite of itself. It’s the kind of guilty pleasure that sometimes confuses, but never bores. Color it flawed but gorgeous.

The most memorable thing about it is the profoundly understated sensitivity of Harris Dickinson, a (surprisingly) British actor to keep an eye on.

It just seems exaggerated and silly. Maybe there’s an idea rattling around in here somewhere, but I’d like to see it in a better movie than Bushwick.

It does provide a welcome antidote to the usual surfeit of formulaic Hollywood junk.

Unflinchingly written and directed by Austin, Texas-based filmmaker Ric Roman Waugh, it’s too unnerving to recommend to the squeamish, but for anyone curious enough to find out what really happens to turn decent people into savages in the bedlam of the American prison system, this is one for the must-see list.

It’s a forgettable film, but what it says about the debilitating effect of technological abuse is sickening enough to make you think twice about upgrading your smartphone.

There are heart-tugging moments in The Glass Castle, but Walls’s bestselling memoir needed to be roughed up and aired out. For it to match up to the book, the movie needed the glass to be smashed, not every shard treasured.

This one he (Pattinson) could have skipped. Vile and repulsive, Good Time is just under two hours of pointless toxicity.

It’s one terrific, offbeat and heart-pounding thriller set in the frozen wilderness of a Wyoming Indian reservation that never ceases to surprise, enthrall and pump the adrenaline with an energy that stuns.

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.

For repeated breathless sequences involving hand-to-hand combat, assassination attempts, and a wicked climactic car chase, shout out to Director Leitch.

It is still Gerard Butler who keeps it all afloat, negotiating rough waters with superior skill.

It’s meant to be a gritty slice of cornpone about revenge from a woman’s point of view, but the female protagonist who emerges is nothing but a cartoon.

Plotless and leaden as a rusty drainpipe.