The film rarely matches Crudup's performance, appearing confused itself about whether it's farce or drama.

When compared with the ambition and achievement of recent animated films, such as "Coraline" and "Toy Story 3," Despicable Me hardly seems to have been worth making, and it's barely worth watching.

As it speeds toward conclusion, “Supremes” also stops subverting its more maudlin aspects, allowing a descent into soap operatic moments.

A small triumph for lowered expectations.

Laura Dern is not a wizard. She cannot make the dumb and formulaic elements of her romance/travelogue movie “Lonely Planet” disappear. But Dern brings such authenticity to Katherine, her confident, matter-of-fact successful author character, that her performance often outweighs this Netflix movie’s flaws.

Besides the fact that the film is flabby (way too much time is spent on history), its efforts to tie subliminal messaging to a vast array of political, media and pop cultural events turn the proceedings a little hazy (or a lot hazy, depending on your worldview).

The uneven result is definitely not for prudish moviegoers, definitely funny for everyone else, and even approaches poignancy in one or two scenes.

This is harmless fun for the kindergarten crowd, but even they will notice that the "Blustery Day" video they've been playing at home is a lot better.

A familiar feel-good story told through an unseen perspective, Anything’s Possible is an overdue inclusion of trans youth in the celebratory innocence of the coming-of-age genre.

Amusing and holds interest largely thanks to its re-creation of a glitzy, flamboyant era, not to mention its soundtrack of disco songs that sound a lot better today than 20 years ago.

It's amusing in a trashy sort of way.

A cute and scruffy movie. Helena Bonham Carter, lending a female presence to the otherwise all-male story, charmingly narrates as Robert’s sister, who pieces together the Stubby legend from letters sent home.

Never dull, but it's rarely more than gently entertaining.

Exuding glamour, health and prosperity, real-life spouses Beatty and Bening are so radiant that they run the risk of seeming superhuman and thereby losing our sympathy as screen characters.

Suffers most from being overlong.

Director Shosuke Murakami efficiently packages the material, deftly weaving in the individual stories of Train Man's chat-room buddies and how his success also gives them courage.

That Pride ultimately gets to you is more of a surprise than the outcome because it's not very well-constructed.

In his performance, Jeremy Renner hints at something dark stirring beneath Webb’s surface, but it never quite comes out, and we’re left with something more on the order of a rough-hewn saint. Kill the Messenger tells an interesting tale, but it’s caught in an odd zone between too-Hollywood and not Hollywood enough.

Visually, the film is a stunner, dotted with psychedelic colors and many shades of red -- one battle is fought with red laser-gun sights -- some looking realistically like blood. When gangsters open fire, their falls are choreographed like a ballet. The problem comes when the cast opens its mouth and Elizabethan dialogue tumbles out.

The movie's effectiveness is distorted by its hero-worship of the Chicago defendants.

The slow pace kills the sense of urgency, and the length and breadth of the film makes the story seem insignificant. Tarantino is still someone to watch, but Jackie Brown, before it's over, becomes a who-cares proposition.

The original Space Jam was an out-of-nowhere delight, and Jordan gave space to his fellow live action co-stars, such as Bill Murray, Larry Bird and Wayne Knight. It was also in and out in 87 minutes; Space Jam: A New Legacy, directed by a good filmmaker, Malcolm D. Lee (Girls Trip, The Best Man), is a bloated 115 minutes, its mayhem and madness wearing pretty thin as it goes along.

Precious and uninsightful but ends beautifully.

The film is finally a letdown.

Hall Pass attempts to take the Farrellys' harsh humor and bring it into harmony with what has become the modern comic style, which is to be coarse but not absurd, to be brutally honest but real.

The Honeymooners isn't the worst of the endless spate of TV rehashes, but it still feels perfunctory.

It's a kids' movie from a better time, with a few small concessions to modern audiences.

Missing a purpose.