Porter’s film is a warm biography and depiction of Lewis’ life, but there are moments where one wishes it had a bit more bite.

As usual, Ridley is immensely appealing as a born warrior with an indestructible sense of right and wrong. Her expressive face lends the fantastical goings-on an emotional resonance.

In the end, The Predator is a killer when it comes to action. But, when it comes to the script, it’s just dead on arrival.

White Boy Rick is good enough, but you keep wanting it to be better.

Despite the best efforts of McCarthy, and a winsome Maya Rudolph as Phil’s 1940s-style secretary, Bubbles, The Happytime Murders is more like the “Boringtime Slog.”

Skyscraper clearly aspires to be a 21st-century update of “Die Hard” (1988), one of the best action thrillers ever made. Instead, it’s just another film that squanders the movie-star charisma of Johnson, who should consider lending his box-office clout to more worthy projects.

Foster (“Hell or High Water”), who is best known for portraying unhinged and dangerous characters, is intriguingly enigmatic as Will. And Harcourt McKenzie turns in a hauntingly memorable performance.

Ant-Man and the Wasp is a vast improvement on “Ant-Man” (2015) — and one of the most entertaining releases from Marvel Studios.

Sensational slanting notwithstanding, Whitney is as powerful and quintessential as it is overwhelming and grueling.

Perhaps it’s time for a moratorium on road movies. Despite its strenuous efforts to come across as quirky and original, Boundaries goes nowhere.

An adequate action film, but it lacks the envelope-pushing artistry of the original.

A refreshingly down-to-earth comedy-drama about family, ambition and the liberating power of music.

Another “Jurassic” flick wasn’t necessary, but it’s a fantastic ride all the same.

Rogers has been criticized by conservative pundits and parodied by comedian Eddie Murphy. But those backhanded acknowledgments only confirmed his status as a force to be reckoned with.

Bursting with style and imagination, The Incredibles 2 sets a standard that few superhero flicks — animated or live-action — can match.

Hotel Artemis is neither a sequel nor a remake, but a film of considerable originality. And that makes it a rarity at the multiplex.

The charismatic cast can’t be faulted. Bullock and Blanchett are more than credible as crooks, and Hathaway is delightful as the self-absorbed Daphne. Unfortunately, Ocean’s 8 turns out to be a poor showcase for their talents.

In one of his best roles, Hawke is galvanizing as a man who has lost his way and is desperately searching for meaning in his life. And as Mary, Seyfried turns in a poignant and beautifully nuanced performance. Provocative and mesmerizing, First Reformed is a film that demands to be seen.

One has to wonder why the film was even made if it had to be so disastrously compromised. Chekhov would be appalled.

After a rough start, the film achieves escape velocity to generate escapist thrills.

The film’s greatest asset is Reynolds, who in Deadpool finally found the role of his dreams. Reynolds totally sells the character’s blend of reckless self-absorption and reluctant heroics.

In his affect and attitude, he’s refreshingly free of bluster. And it’s almost unbelievable that a man of his power and prestige insists on maintaining such a modest lifestyle.

A disgrace and a waste of the talents of Oscar winners Keaton, Fonda and Steenburgen and Emmy recipient Bergen. Obviously, the film is intended for an older audience. But is this anemic, feature-length sitcom really the best that Hollywood can do?

The kind of film that’s capable of eliciting wildly different reactions. Art-film aficionados would be impressed with its atmospheric storytelling and emphasis on character. Devotees of mainstream cinema would likely complain that “nothing happened.”

Working from a screenplay that he co-wrote with McCarthy, director Ben Falcone (who happens to be her husband) keeps things moving but without much of a spark.

Not many films address motherhood with as much irreverence and insight as Tully.

A comic-book flick that’s as thrilling and enthralling as it is pretentious and preposterous. The story is just an excuse for the action sequences, and the Marvel strategy remains intact: When in doubt, blow stuff up.

Lean on Pete is not the sentimental boy-and-his-horse flick that audiences might expect, and it’s certainly not for children. It’s a contemplative art film of subtle beauty.