Bob Trevino Likes It is overly convenient but touching, nonetheless.

If you love the “what the hell, let’s try it” sensibility that the Legendary Pictures monster franchise has embraced thus far, you’ll still find plenty here to enjoy. But it shouldn’t have been necessary to go looking for it.

This is ultimately a frustrating work. The Walk has everything it needs to be a modern classic, except for an understanding that when you have everything you need to make such a film, it doesn't need to hype itself and explain itself. It can just be.

Isn’t It Romantic tries to have its red velvet cupcake and eat it too, and though it’s tasty and enjoyable while you’re watching it, you’ll realize how hungry you are for something heartier soon after you’ve come down from your sugar high.

From the looks of it, Huppert had a grand time playing the title character in Greta, a film that could have been released in the era of MTV veejays and VCRs.

If only Blood and Money weren’t stretched so thin. More development of character, suspense and plot would have gone a long way toward making this stick to one’s crime genre-loving ribs.

It primed me for a deeper discussion on how “clothes make the man,” then disappointed me by devolving into a huge commercial for fashion designers past and present.

Adore is, as my late mother would say in describing Sidney Sheldon novels, "good trash."

While Cassandro is not a winner, Williams and his cast put up enough of a show to make things interesting.

The performers continue to exhibit those qualities forty years after the fact, reuniting in the evocative, sometimes puzzling, and sometimes moving Valley of Love.

Your enjoyment of “Tornado” depends on how much you want to root for thinly drawn characters who don’t look strong enough to carry an entire movie. They can and they can’t, depending on how patient you’re feeling.

Batkid Begins brims with subjects who come in with their own enthusiasm, color, and comedy.

Yes, a mournful song is woven throughout, hence the title. But The Cow Who Sang a Song into the Future also requires great patience—it might be too slow of a slow burn—and there’s not much to her characters beyond a few barely sketched traits.

I doubt How to Survive a Pandemic will alter anyone’s opinion regarding the necessity of vaccines, yet it does pay admirable tribute to the scientists fighting to save the world, including those stubborn earthlings who have no interest in being saved.

The movie itself, overall, feels kind of bloodless. Scenes in which Pearson is called upon to defend his new vision kind of fizzle rather than catch fire.

It has the feel of a late-night conversation at a college party, full of good ideas but lacking focus.

Kuso may often feel unproductively loud, and monotonous, but it is a head-scratcher worth contending with.

The film is routinely gorgeous, but by turning its "real" people into Malick-style characters, it erodes their humanity in an uncomfortable way.

To its credit, the “Now You See Me” trilogy, about magic experts tricking powerful bad guys, understands this principle and conveys it with humor and a light touch. That understanding, plus a strong cast, is the only thing preventing the films from turning into jumbled, giant bags of arbitrary plot twists, eager to outsmart viewers into nonsense.

While Nona does eventually reward audience members with stark drama grounded in a daily nightmare, it risks cheating itself of its full impact, pretending for most of its running time to be a fairytale it certainly is not.

As he impresses by nailing each facet of the Western genre on the page and behind the screen, White's strongest suit is his consistent straying from any cynical territory. He doesn't try to aim for the same traits that made "Black Dynamite" a hit, nor does he try to be as outrageous as other Western parodies.

This is a compelling story about persistent problems that affect the majority of Americans, even though you don't hear about them very often in mainstream media. The blunt title says it all.

There’s something eerie, and sometimes even dreadful at the heart of The Soul Collector, a new South African horror movie about the damage done by hungry ghosts and their ignorant descendants. Mostly because The Soul Collector often suggests more than its streamlined plot and mythology can express.

There’s a horror and truth that comes from staring into the abyss, and Son of a Gun could stand to learn a little more from Michael Mann about how to convey those cinematically. It’s a little heavy on incident, and a little light on soul

The strength of the film is its heart, and Summer’s relationships are used not only narratively, but structurally. With frequent narration from Summer’s daughters, and a heavy focus on their childhoods with a loving but distant mother, their desire to understand her beyond her parenthood and into her personhood is the the movie’s foundation.

It’s a movie for the kids to watch after overdosing on Easter candy, and there’s something to be said for watching a movie this unapologetically bright in a world that feels pretty dark right now.

Despite strong work from Ben Mendelsohn, Daisy Ridley, and Gil Birmingham, director Neil Burger's adaptation is a medium-level thriller.

The leads are so lovely and the city is so shimmery that it’s hard not to get caught up in its spell — for a while, at least, until its corny coda destroys whatever goodwill the film has generated.