Constrained by expectations and established character/plot limitations, Incredibles 2 lacks the freshness and ingenuity displayed by its predecessor. It’s good, fun family entertainment but it’s not incredible.

By making the key participants in The Valley an Indian-American family with many traditional values and customs, Kariat emphasizes the universality of the problem.

A frustrating crime thriller that incorporates too many plot threads into the overall narrative at the expense of character identification, suspense, and emotional heft.

Bernard and Huey is a small pleasure; it’s almost always welcome to watch a character-based film crafted without pretentions.

The humor is often muted and at times almost apologetic and a subplot involving long-ago events fails in its goal of boosting the three-dimensionality of a character.

The movie spends perhaps too much time on the planning of the caper and too little time on its execution, which turns out to be on the underwhelming side. It’s also not terribly exciting.

The film functions as a time machine to take the viewer back to when (s)he watched “Mr. Rogers’ Neighborhood” on television and re-introduces the man who functioned as a friend/mentor/father-figure.

First-time director Ari Aster hits a home run when it comes to an overall sense of impending doom. Sadly, Aster’s story isn’t as waterproof as his stylistic aptitude.

Like all B-movies, this one provides moments of visceral satisfaction while ignoring nuance and (at times) logic.

It’s as if the film’s reason to be is its aesthetic, with everything else being of secondary concern.

Although guilty of soft-peddling some harrowing aspects of the experience to achieve the teen-friendly PG-13 rating, Adrift nevertheless gives a flavor of the existential experience inherent in this situation by illustrating that surviving a shipwreck is as much about mental strength as physical endurance and stamina.

It’s an emotionally satisfying experience that brings to life a group of appealing characters and allows them to grow and expand in front of the lens.

An inelegant melding of a bland origin story with a generic heist tale, Solo never generates sufficient energy or interest to elevate it above the level of a failed curiosity.

Although there are times when the dialogue is downright insipid, it contains enough wit to provoke frequent chuckles (and maybe even a few guffaws – Andy Garcia has a laugh-out-loud one-liner) and the movie quadrupoles down on the romance element.

The caper in Carter & June is clumsy and straightforward, lacking sophistication and intelligence. Sadly, that’s an apt description of the film as a whole, which is difficult to sit through and leaves no lasting impression beyond the desire to warn people to stay away.

The bottom line is that viewers who enjoyed Deadpool will almost certainly enjoy Deadpool 2, although perhaps not quite as much.

Lelio’s subdued approach to the material robs it of potential emotional power but also keeps the story grounded.

This is not only the least funny movie in which McCarthy has appeared but the tamest and most toothless.

At its best, Terminal is a tasty, tangy parfait – a kaleidoscope of neon-tinged visuals and a twisty storyline with a tortured time line.

This is yet another chapter in “When Smart Movies Turn Dumb.”

Measure of a Man, the sophomore feature effort from British director Jim Loach (the son of the famed filmmaker Ken Loach), effectively captures this difficult-to-pin-down feeling with a largely unsentimental coming-of-age story based on Robert Lipsyte’s novel, “One Fat Summer.”

Despite its overly praiseworthy tone, there are areas of interest.

A standard-order noir murder mystery with a confused, contrived last act, Anon is more notable for how it sees the future than what it sees going on there.

The movie is rarely funny with much of the comedy being too broad, too predictable, or both.

There are good reasons to see Tully. Theron’s performance is high on the list, as is that of Mackenzie Davis. The first 30 minutes are uncommonly good, which may be why the spike of disappointment is so acute when the film fails to maintain that level for its entire length.

By compressing everything into an overheated 24-hour period, Duck Butter is able to explore the highs and lows in extreme circumstances, where the importance of every moment and action is heightened.

Supercon has its moments, although not nearly enough of them, and its grossest-of-gross-out scenes might be disgusting enough to cause John Waters to wince.

No, it’s not a game-changer like "Deadpool" or "Logan." It remains firmly anchored within the “traditional” comic book milieu. But, with an unwavering devotion to spectacle and action, the film throws down a gauntlet where this kind of mass team-up is concerned.