TRON: Ares is spectacularly designed, swiftly paced, thoughtfully written, and directed within an inch of its neon-hued life.

Aside from race jokes, Ted 2 offers a nearly staggering number of weed jokes, a couple of which are mildly funny, or at least funnier than the rape jokes.

The adaptation (by Josh Boone and Jill Killington) lacks any inference, mystery, or discovery: it is all text. Any complexity that there may be is all on the surface. Problems are easily solved, since there's nothing left unsaid, or if something is left unsaid that Ruthie says it for us in the voiceover. This makes for predictable viewing.

Woodley, though, by virtue of the sheer likability of her presence, keeps you hanging on, keeps you rooting for her.

If having their own Momo is Netflix’s latest attempt to grab viewers, they’re gonna need a much more disturbing monster.

The Greatest Showman, directed with verve and panache by Michael Gracey, is an unabashed piece of pure entertainment, punctuated by 11 memorable songs composed by Oscar- and Tony-winning duo Benj Pasek and Justin Paul.

Ravager does have an internal logic that makes its time and subplot-jumping story easy to follow. But this new Phantasm will not be of interest to anyone who doesn't already know who the Tall Man is, or why he needs to be stopped.

Mothers’ Instinct gets by on its pulpy potential more than anything else. There’s something intrinsically appealing about watching two phenomenal actresses go head-to-head in an old-fashioned melodrama.

Despite a few strong production values and performances, Smith’s film simply crosses the lane into incoherency and not the surreal David Lynch-esque kind of incoherency that sets a tone, but the this-needed-a-better-edit-or-rewrite kind of incoherency that gets people wondering what else is on Shudder.

The picture begins vanishing from the memory the instant that its final credits roll, and its laid back attitude suggest it's fine with that.

Luck truly is best suited for small children with low standards. Older kids will be bored. Adults will find it especially dreary, even though there’s actually a relevant message in here about the merits of failure and the perils of lawnmower parenting, buried somewhere beneath all the sparkles and desperation.

HairBrained is painfully contrived and self-consciously quirky from the word go.

Dashcam succeeds as a barrage of icky stimuli that may go great with a rowdy audience.

Are you consumed by an overwhelming desire to fork over the price of a movie ticket in order to see the kind of meagerly funded nonsense that the SyFy network provides for the price of a basic cable package? If the answer is yes, then Bounty Killer is right up your alley.

While this documentary from Alison Klayman can be insightful in taking us inside a phenomenon, its approach can be too broad, with filmmaking that relies on its own weaning sense of trendy.

Jungle succeeds in communicating the young Israeli kid’s horrible situation, as well as the camaraderie between him and his new friends, but falls short when trying to visually explicate his mental state.

What works for him (McCarthy) in a novel cannot be said to work for him here.

Often, Song One feels like the timid B-side of last summer’s more satisfying music-biz saga, the much less woe-is-me and a lot more let’s-have-some-fun “Begin Again.”

It may not come together as smoothly as the best feel-good movies of its kind, but there's an unwieldy charm to Joyride that makes the trip memorable.

Lane, still an incandescent knockout at 52, continues to pull off expressing sensuality and sexiness better than most actresses of any age.

Jeanne du Barry cares more about the love affair between two non-distinct people wearing exquisite clothes in stunning rooms than the reality that would sweep away those rooms, those clothes, and those people in just a few years' time.

Underwater absolutely bullies you into liking it. There's no time not to.

The Take is just really lousy.

The problem isn't that this concept has been reworked to death, but that Quintana and co-writer Chris Dowling (the scribe behind Christian dramas such as Run the Race and Priceless) fail to mold it into a winning catch.

The cast gives their all, but the film ultimately has nothing to offer.

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.

Its worst sin isn’t its stupid characters doing stupid things; it’s that the whole thing feels remarkably lazy, failing to find any tension or even B-movie thrills. You can insult my intelligence within the world of a film, but not in the actual filmmaking, if that makes sense. This movie sure doesn’t.

Surprise, surprise. This "Planes" quickly grounds itself with a story that at least offers an emotional hook (if not ladder) that most adults and even kids can appreciate.