While some material may hit with younger audiences, Luca makes for Pixar’s least enchanting, least special film yet.

Directed by Pappi Corsicato and executive produced, typically, by the subject himself, the movie is never uninteresting but is often surprisingly low-energy and, even more surprisingly, visually drab.

M3GAN 2.0 doesn’t seem to set out to do much more than show off and get laughs, and it accomplishes it well enough. The film is bigger, but not better, delivering precisely what fans of the sassy android will come to the theatres to see.

A general lack of urgency are the main things holding Get Duked! back from being as good as it is promising.

Thor: The Dark World's characters are often very charming, but they're only so much fun when they're stuck going through the motions.

Though Overgård spends a lot of time alone with his thoughts, Arctic lacks what makes for the best movies of its ilk: it does not inspire much imagination concerning what our hero might do first if he does get back home.

Ultimately, the cacophony of all these plot lines converging and the weight of the messaging being conveyed is almost too much to bear.

The action filmmaking, from interstitial chases to fight choreography, looks good, and so does the monster and its practically-effected victims.

On its surface, “Onlookers” is a movie that can be described very simply. For about an hour and twenty minutes, a series of very neatly composed shots depict natives of Laos and tourists observing a variety of sights and sites.

It’s more like a reusable ribbon bow. It's not great. It's nothing special. But you can keep it year after year and place it on presents as long as you have scotch tap—or Lohan’s irrepressible charm—to hold it together.

Marianne and Leonard turns out to be a rather run-of-the-mill documentary about Cohen's journey, taking us down well-documented paths.

In fits and spurts, it casts quite the campy, thrilling spell.

Even for a movie about a theatrical sport, focused around an actor who wants to learn what it's like to wrestle for real, You Cannot Kill David Arquette rings far too much like a vanity project.

Intimate and impressionistic but ultimately a little self-indulgent.

There are endless horror movies out there in which a slow burn seems like it's just killing time before it's actually time to kill. But "The Feast" does well with that dread—it's the main course that proves to be the rip-off, however gory, indulgent, and horror-ready it is.

It isn’t bad, per se, but I just never felt the emotional impact it's clearly hoping to achieve.

As much as Henderson is looking for answers, she’s demanding an appreciation for the implication of asking. She doesn’t seamlessly connect her investigations into Levi, Yucca Mountain, and Las Vegas history, leaving parts of the documentary feeling disjointed, but the effort is emotionally recognizable enough to leave you with impactful questions of your own.

It has a smidge of depth and takes chances that similarly worshipful documentaries probably wouldn't. But it also cracks a lot of doors without actually opening them up and walking through them.

Good Burger 2 is a sentimental slapstick sequel chock full of fun cameos and absurdity, yet it doesn’t divert itself enough from the familiar path. It serves up little more than nostalgia, with some solid laughs but too little that are memorable.

The movie doesn't quite hold together at times, and some of the darker elements (like what it feels like to be shamed and shunned at every moment of your life) are soft-pedaled. But it has a strange charm nonetheless.

You have to take the bad with the good here: Green Room may be too schematic to fully capture the essence of its characters' groddy milieu, but it's also economically paced, and gorgeous.

Instead of relishing the specific details of this story, you wind up enjoying its familiar pleasures and then maybe its creators’ proficient execution.

So while Enid’s investigation never goes anywhere noteworthy, Censor still fosters an increasingly desperate, anxiety-inducing effect.

The smartest decision Budreau made at any point during production was to call his former collaborator on “Born to Be Blue,” Ethan Hawke, who keeps this sometimes frustrating film nimble and entertaining.

This one is a mostly likable effort, but it doesn't quite feel like a self-contained movie with a shape and a discernible point; it's more of a collection of material arranged in a way that more or less makes sense.

Thankfully, Zuleta conjures enough effervescence to make us invested in their search for a place in the universe, even if the path is well-trod.

Loud, trashy, sweet and weird, the Mighty Morphin Power Rangers reboot Power Rangers is not merely an ideal film for rambunctious and undemanding 12-year olds, it actually sees the world through their eyes.

It’s a fairly predictable thriller with few emotional moments apart from anxiety, and even fewer revelations.