A Working Man is exactly what you expect when you unleash Statham on a noble mission.

That's kind of the overall problem of Ocean's 8. It's all predicated on the fact that women are often underestimated. But in making that point, it's also somehow underestimated the audience who still should be entitled to a smart, fun heist, no matter who is pulling it off.

The Good Liar is a kind of film one wants to love. Such old-fashioned genre movies, let alone those starring actors in their 70s and 80s, are hard to find these days. But in trying to take a simple crime set-up and stretch it into a more sweeping tale of vengeance and victimhood, The Good Liar has to make some fairly preposterous moves to get there, and it doesn’t do a very good job of cloaking them.

It could be that, if we’re talking about representing hard-to-tame adolescent urges in monster form, “Turning Red” — bold as it may be — can’t come close to matching the messy comic farce of “Big Mouth,” the far less family-friendly but much more true-to-life animated series that paired seventh graders with lascivious “hormone monsters.”

While I certainly enjoyed elements of this odyssey in reverse, I was ultimately left feeling very little — especially about Chuck and the questionable end-of-film explanation that ties it all together.

If some of King’s Wes Anderson-inspired pop-up book designs and skill with fine character actors is missing, the bedrock earnestness and unflaggingly good manners of its ursine protagonist remain charmingly unaltered.

Although “Tammy Faye” may be imperfect, it does succeed in at least one significant way: We’re not just looking at her makeup anymore.

Certainly the film has a fascinating premise, one that would have worked well enough were it totally fictional — but works better with the knowledge that it’s based on fact.

Squibb and Kellyman, both terrific, are the real reasons to seek out “Eleanor the Great.” The film may trip over its own contrivances but their performances will leave you moved.

The script crackles with small, brilliant moments.

Ultimately “Mike & Nick & Nick & Alice” has a few good laughs, some inspired needle drops, quirky references and a go-for-broke energy that should make it an enjoyable, low-stakes click.

It is a slick, well-acted mystery with enough stomach-turning horror to make The Exorcist seem G-rated.

Over the course of an hour and half, we learn a ton but never come much closer to understanding him. It’s as if he traveled back in time to flip us the bird just to mock us for trying.

If you must reboot an over 30-year-old Disney Channel cartoon like Chip ’n Dale: Rescue Rangers, you could do much worse than looking to “Who Framed Roger Rabbit” for inspiration. But it is a high bar and though Chip ‘n Dale might not reach the heights of that Robert Zemeckis film, it is still a pleasant surprise stuffed to the brim with pop culture references that children of the Chip ’n Dale era may enjoy.

The combination works well enough, though it’d be fairer to deem “You’re Cordially Invited” a funnier-than-average wedding movie than it would be a top-grade Ferrell comedy.

It’s certainly a bit whimsical and stop-and-go considering how much of the story takes place outside of the aquarium, but it mostly stays on the right side of cloying never veering into treacly “The Life of Chuck” territory. And it is all building to something, though it takes a bit of time to get there.

Ambulance pines for a visceral, breezily violent style of film that doesn’t slow down to ask too many questions. And while Bay’s film wouldn’t stand up to too much inquiry — this is a movie where a ruptured spleen is treated with a hairpin — it’s hard to deny its escapist panache.

Flight of the Navigator won't earn a place among Disney's classics, but it's a perfectly entertaining sci-fi movie that does a creditable job with the stale human-meets-alien theme. [18 Sep 1986]

Fly Me to the Moon is best when it’s not taking itself too seriously. And the most worthwhile concept it sold is the idea of Johansson and Tatum (which, by the way, is a great reminder to rewatch “Hail, Caesar!”) as a modern Day and Hudson. They have the charm. They just need material that does it justice.

While No Hard Feelings finally gives Lawrence (also an executive producer) a platform for some of the slapstick humor she’s so good at, it also feels like she’s been inserted into the framework of a quite male coming-of-age rom-com/fantasy.

Marry Me hangs on Lopez who is as glowing and glamorous as ever. Lopez, as they say, understood the assignment.

What’s most disappointing about the film, considering its origins, is just how distant anything like real life feels. From the first moment Jamie slides on a pair of ruby red stiletto pumps, there’s not any doubt things are going to work out for him.

Turn-your-brain-off summer fun, and doesn’t need to be anything more than that.

Adults may find the plot predictable and the pacing a bit wanting, but the dynamic animation and beloved characters help compensate, as does the film’s cheeky self-awareness.

The film lacks depth in exploring questions of morality and human nature while depicting Ritter’s lofty goals to save humanity.

The mashup of genres may feel a bit tonally rough, but it ultimately works, not least because of its unifying factor: Sweeney, who imbues her no-holds-barred portrayal of Martin with both sweetness and rage, with brio and real vulnerability.

This is a popcorn movie, with a surprising turn from an underrated star. And ultimately, it’s a pretty fun time at the theater.

A film like this, as authentic and raw as it is, should probably leave audiences in a puddle and not exiting the theater wondering why they’re not.