Captures why Chris Farley mattered, even if it does sometimes gloss over a few of the reasons our friend is no longer with us.

The problem here is a recurring one with recent family entertainment and it's how little there is below the repetitive surface. Jokes are recycled with alarming regularity, and most of the supporting characters outside of Maddie fall flat.

While the killer with a heart of gold trope works to varying degrees, mostly because of Manganiello’s unvarnished presence, the thematic heft of The Kill Room is enough to make it an intriguing and entertaining early work.

Make no mistake, The Equalizer 3 is hot garbage.

A drama that’s tastefully restrained to a fault in a particularly British manner.

A prime example of a horror omnibus film: even the weaker segments have something to recommend them.

For the most part, it is a solid film that bolsters its innately compelling narrative with effectively low-key performances, some genuinely thrilling sequences and only a few moments here and there that lean towards hokeyness.

Riddle of Fire can sometimes lose its spit, however, spinning too listlessly to the script’s mazy ruts. But there is an uncommon, finely struck sweetness to this film that keeps it from tumbling down mean, unsavory paths.

A moderately entertaining heist movie featuring an animated and reasonably diverting Eccentric Cage Performance.

It may not be quite as entertaining as the last time Weaving ended up in a murderous melee after a wedding ceremony. But there’s a least a few bits and bobs to keep “Borderline” from borderline failing.

This one works overtime, shifting gears repeatedly without once providing enough substance for the viewer to engage.

Handsomely mounted and well-acted by a stellar cast, but it’s one of those theatrical adaptations that has no reason to exist for any viewer who can recall a superior stage version of the same work.

The Night Before is a well-intentioned comedy with some big laughs and some big misfires, but it ultimately works because Rogen and his well-cast buddies ground it in a way that makes them likable. A killer Michael Shannon supporting performance never hurts either.

While originality may not exactly be in great supply here, these familiar elements have been mixed with enough wit and style to make for some sleazy, insanely violent, and reasonably entertaining B-movie trash.

Blue Bayou is sunk, on occasion, by its own symbolism, and how it wields said symbols. It's not enough to use a symbol visually, and let the audience put two and two together. A character needs to have a long monologue where they explain the symbol and pontificate on how the symbol is relevant to the circumstances.

As an actor, John Turturro is a stalwart, alert, engaging character player. As a writer/director, he’s one of the quirkiest, hit-and-miss narrative moviemakers around.

A dark, weird, smutty, fitfully amusing comedy that ultimately wears out its welcome. As a provocation, it's aces, especially if — like the film's writer-director, Randy Moore — you hate Disney and everything it stands for.

Is it worth seeing? Yes, but only if you enjoy being grossed out.

Still the Water knows what it is and what it's doing, and even if it doesn't quite come together in the end, it's a mistake to think that there's no point or plan just because the movie doesn't regularly announce its intentions.

Sure, the events are scrambled, with minor changes here and there, but if you know what happens in “Madame Bovary,” you will not be surprised by this film. In fact, you’ll probably be as irritated as I was by Gemma Bovery’s attempts to be clever and meta.

Like a novice juggler struggling to master some complicated tricks, The One and Only Ivan tries to encompass several different stories, themes, and ideas while appealing to adults and very young kids at the same time. It’s a tough feat to pull off — an uneasy mix of lofty notions about freedom and dog fart jokes — which the film only sporadically succeeds in achieving.

Despite the dazzling, sun-soaked scenery, the long nights of partying and the sight of these attractive actors stripping themselves bare—physically and emotionally—for their roles, the harsh truth of Monday, and its accompanying hangover, comes all too soon for us.

A very good jazz movie and a very good heroin movie, if indeed there's much practical difference between the two modes—and perhaps there isn't.

This movie’s dry, facts-first approach does not have the capacity to pull it off.

It’s an alternating series of frustrating choices, promising beats, and general goodwill for a legendary actor donning one of the most famous hats in movie history yet again. It should be better. It could have been worse. Both can be true.

If Retaliation were a friend, you’d eventually avoid them.

In his bleak film, Guðmundsson combines the kitchen sink drama of growing up in a cycle of violence and/or poverty and the magical realism of teenage fever dreams, with mixed results.

Wicked: For Good really sings where it counts: with the emotional ache of the fractured friendship at the story’s core.