There’s a lot of gross, both kinda and mega, over this film’s 93-minute running time. Also a lot of poop jokes, and penis jokes, both canine and human. You get the picture.

Plane is as broadly sketched as its title. Puerto Rico doubles here for Philippines, and most of the story elements, too, feel like they’re stand-ins for basic plot conventions.

Despite an A-list roster of talent, including people behind the scenes who theoretically should know how to resurrect this brand and move it forward, Terminator: Dark Fate is just another bad “Terminator” movie in a string of bad “Terminator” movies (although better than “Genisys”).

Arteta (The Good Girl, Cedar Rapids) has an underrated ability at crafting comic, humanistic movies out of commercial concepts. But Yes Day slides too often into contrived, loudly scored montages of “fun” that don’t transfer to those of us watching. And while Garner and Ramirez are both very fine actors, neither of them is funny.

It can be divertingly bonkers, but ends up a rather grim and slipshod “John Wick” ripoff.

The Tender Bar is a gentle, oddly crafted but loving look at men, fueled by a soundtrack of classics like Paul Simon’s “50 Ways to Leave Your Lover” and Steely Dan’s “Do It Again.” It’s a valentine to guys who step up.

It's fitting that director Brian De Palma's latest effort, Carlito's Way, begins and ends inside a train station, because this is a movie that's seriously derailed. [09 Nov 1993]

Knowing that the story comes from a real place is important for the experience. It gives “My Mother’s Wedding,” a perfectly average film that doesn’t quite land the way it should, an emotional depth that it’s otherwise lacking.

Abominable is sweet and simple enough, but its emotionality always feels thin and, like much of the film, paint by numbers.

At a certain point, somebody says “I just hope this goes better than last time.” It’s a cheeky reference to the first film, but also a rather dangerous line to include in a sequel, because they almost never go better than last time. This one doesn’t either, but at least it’s upfront about what it’s doing: just making stuff bigger and crazier.

Walt Disney Animation’s Wish is stunning to look at with textured and rich watercolor-inspired animation and easter egg treasures for audiences nostalgic for the classics. But it is also more concept than story: A strained and forgettable attempt to pay homage to the studio’s 100 years.

It’s an odd paradox that this movie feels both high-minded and also at times frustratingly pedestrian.

That a movie called “The Sheep Detectives” tries to impart lessons of morality and mindfulness is, of course, laudable. A wide swath of entertainment aimed at children makes no such attempt. But “The Sheep Detectives” could have used more slapstick and less CGI sincerity.

The plotting is clunky and haphazard. But when together, Thompson, Hemsworth and Nanjiani turn Men In Black: International into something funny and silly: a pleasant enough lark in formal wear.

A movie as frothy and insubstantial as the foam on a nice cappuccino. It’s also about as believable as some of the woefully stereotypical Italian characters here.

For the big tonal swings in A Simple Favor to work, the characters needed to be more plausibly grounded. Lively and Kendrick’s early scenes ping-pong nicely with odd-couple chemistry, but “A Simple Favor” loses the thread, and never shakes the feeling of a rushed Gillian Flynn knockoff.

Five years after we just went through (at least a lot of) this, “Eddington” somehow seems both too late and too soon, especially when it offers so little wisdom or insight beyond a vision of hopelessness.

Jon Favreau’s The Lion King, so abundant with realistic simulations of the natural world, is curiously lifeless.

Six films in and with more on the way, too much of a good thing is becoming more of a pressing question in “Despicable Me 4,” a silly and breezy installment from Illumination Entertainment that passes by with about as much to remember it as a Saturday morning cartoon.

The real heist of Crime 101 is an old one: If you’re going to steal, steal from the best.

The Philadelphia Experiment offers the basis of a good sci-fi thriller, but it's top heavy and never makes it off the ground. If the movie had dealt more with reality and real human reactions to bizarre situations, it would have offered a good screen scare. [28 Aug 1984]

The movie could have benefited on a little focus and not so much fan service, especially considering how good all of the ensemble actors are in these roles. Perhaps that’s why Fellowes couldn’t choose just one.

Antebellum will inspire conversation, just probably not the one the filmmakers anticipated.

The creators of Superman III give us a picture puzzle of assorted plots that never meld coherently. [13 June 1983]

Except for two or three explosive moments, the film plods along to the expectable, heartwarming climax, never achieving the potential of a new star in a time-proven role. [27 May 1985]

The craft and thick Gothic atmosphere of The Devil all the Time is impressive. The movie has such fine-wrought texture that it holds you in its cold grasp. But it’s also somewhat oppressive.

It’s a goof, and there’s something to be said for watching Grohl and the gang having so much fun.

The Secrets of Dumbledore, lacking in much magic, is a bit of a bore.