Despite relocating across the pond to the esteemed British Museum, the creaky Night at the Museum: Secret of the Tomb fails to capitalize on the comic potential provided by that change of venue.

Van Cotthem's performance is wholly convincing, which might not be something to brag about, and the film flatlines right along with him.

All of this results in way too much relationship chatter and not nearly enough comedy, romance or even dysfunctional relationships. We want to laugh -- but at what?

Ending with neither a bang nor a whimper, the finale falls somewhere in between. It's an improvement over its concurrently shot, babbling predecessor, but it ultimately fails to capture any of that jaw-dropping sense of exhilaration that made the original such a must-see event.

It has all the flaws of the recent Bradley Cooper vehicle Burnt, only without the sex and the charm.

Probably needed more originality than is on display. With an age-old cinema theme of a young man's maturation, it also needs to land female ticket-buyers but seems a lot like something women could find at home on the WE channel.

A sort of maritime Donner Party, In the Heart of the Sea is a rugged but underwhelming true-life drama of a cursed 19th century whaling voyage.

A campy pastiche of horror and high-school movie cliches, the film only rises above standard-issue scare fare by dint of Cody's sneaky sense of humor.

Although unlikely to make any new converts, The M Word should well satisfy the filmmaker’s small legion of devoted fans.

[A] semi-convincing yet enjoyable tale, relying on familiar names in a cast that acquits itself well given the demands of the unusual plot.

The whimsically humorous script relies primarily on playing up the individual idiosyncrasies of the characters rather than full-on comedic situations, although the overall approach remains grounded in reality, rather than taking to Wes Anderson-style flights of fancy.

The Super isn't distinctive enough to make it stand out amongst the glut of urban-set horror films. But it is chilling enough to make glass-walled, modern high-rises a lot more appealing.

For all her desk-stashed booze and inappropriately tight skirts, the movie offers Diaz a pretty bland badness.

Despite this promising subject matter, the film runs out of steam two-thirds of the way through and becomes a sort of Palestinian "Porky's," ending with a fast-forward 30 years into the future that is confusing and abrupt.

Made with love and acted with great empathy by a cast led by always dependable pros Olivia Colman and John Lithgow, Jimpa is nothing if not sincere. But to be brutally honest, it’s also kind of a cringey bore, like being stuck in a room with a bunch of oversharers from queer studies class.

If Penn’s point in visiting Ukraine, meeting Zelensky and co-directing Superpower was to make himself heard, then it’s mission accomplished.

Politicians, the media, educators, military commanders and a docile public all come under fire in a well-made movie that offers no answers but raises many important questions.

A hard-hitting psychological drama about an actress who surreptitiously monitors her former assailant and his current prospective victim, Tape benefits from its well-executed thriller mechanics and terrific performances by its three leads.

For undemanding audiences not looking for too much substance in the summer's dog days, Dog Days should go down relatively easy.

While it provides a sometimes thoughtful examination of modern sociological issues, The Architect unfortunately succumbs to melodrama in its depiction of its troubled characters.

Legally bland.

While it certainly looks swell thanks to director John Moore's striking visuals, the wings of this rebuilt "Phoenix" have been clipped by generic scripting and a short supply of dramatic tension.

The film is less of a drama than a tribute -- an ode, even -- to the spirit and tenacity of firefighters. Its makers hardly bother to explore the lives or motives behind their actions.

Women will love this, and men won't mind the eye candy either, so it looks like this Screen Gems release can't help becoming a hit.

Over-produced and under-thought-out, this unconscionably elaborate attempt at an old-fashioned Gothic thriller looks great but is beyond silly.

The most banal and indulgent of Gus Van Sant's periodic studies of troubled kids, this agonizingly treacly tale comes off like an indie version of "Love Story" except with worse music.

It’s not really a movie at all, but more like a cross between a movie, a video game and a flow of hallucinatory images that could play in the background of a live show by rapper Travis Scott — who co-stars here as a gun-toting, philosophizing killer surrounded by a swarm of twerking booties.

By-the-numbers plotting, seen-it-all-before action moves, banal locations and a largely anonymous cast alongside the star give this a low-rent feel.

A decidedly old-fashioned war film that reaches for epic sweep but is often bogged down in cliched drama and two-dimensional characters.

The film boasts enough manic energy and straight-up weirdness to keep you entertained before overstaying its welcome in the final act.

A few flashes of amused chemistry between the two actors represent all the human interest in this unimaginative sci-fi actioner, but that doesn't mean the pic's relentless focus on giant-monster battles won't please the director's fans.

Paltrow shows a capable hand with the actors... However, the characters only intermittently engage our interest.

Paints a surprisingly sour portrait of nearly all its characters, so much so that even the final-reel redemption rings hollow and forced.

For much of the way, the film just feels like it's pressing too hard to make an impression.

Newton, Sprouse and the delightful Soberano are all more appealing than the sloppy package and undercooked characters deserve.

Even during its more successful moments, Wish’s magic falls flat. The film is weighed down by its purpose: to revel in Disney nostalgia while soaring into the future.

An initially promising genre reboot ends up feeling like a major failure of nerve.

Salem’s Lot is a clipped horror that partially works thanks to a handful of assured performances and key style choices.

Coming to America is the filmic equivalent of using a Maserati to go to the corner grocery store — Murphy's colossal comic gifts and Landis' countercultural sensibilities are largely wasted, never pushed to the floor in this idling, curbed comedy.

By the end, Black Flies leaves the viewer battered, bruised and bleeding out on the sidewalk, but never fully captivated

Although the screenplay by Vizinberg and Lee Peterkin holds little in the way of surprises, it does offer a taut storyline and complex characterizations.

Informative and lively if low on cinematic value, the documentary will play well on the small screen.

The picture's first-person focus makes it surprisingly uninformative and occasionally annoying.

Its undiscriminating focus, accepting artists whose degree of talent varies widely, may not help it with audiences seeking a fine-art doc, but many viewers will appreciate that very quality, enjoying this modest effort's celebration of a bootstrappy creative community.

Atom Egoyan has delivered a big, slick and sexy mystery in Where the Truth Lies, turning the Rupert Holmes novel into a sumptuous tale of show business hype and duplicity.

An often funny if slight satire that's never as edgy as it thinks it is or as sharply focused as it needs to be.

Effectively creates a menacing atmosphere within the gleaming white halls of the hospital in which it is set, but its story line and characterizations lack the sufficient originality to lift the film above its many better predecessors.

The picture is essentially a tearjerker, with little originality or insight.

Even those who have never been exposed to the considerable charms of the Masayuki Suo original will likely find Peter Chelsom's all-American version of Shall We Dance? to be a dishearteningly sullen, lead-footed misstep.

As usual, Zombie has added an element of camp fun to the proceedings with his clever casting of B-movie icons in small roles, including Dee Wallace, Brad Dourif, Danny Trejo and Sid Haig.

Wes Tooke offers stiff dialogue and sometimes oddly structured action, leaving much dramatic potential unexploited. Yes, Emmerich stages plenty of aerial battles in which fighter pilots plunge through hailstorms of sizzling projectiles. But those hoping to get a thrill would be better served by revisiting his Earth-vs-aliens war flick Independence Day.

While several members of the cast valiantly fill the void where they can, these fish out of water could have made a greater high-definition splash if they had been thrown an occasional line or two rather than counting on inspiration to wash over them.

A handsome production but one that struggles to integrate its various elements -- cabaret-society glamour, intellectual fervor, family drama, impossible romance and droll humor.

It’s unfortunate that Light feels both too traditional and too concerned with showcasing life behind the music, instead of trying to explain why Williams was one of the greatest American musicians of the last century.

A very sympathetic turn by Colm Meaney both lends box-office appeal and helps Byrne pull back from the saccharine possibilities inherent in the premise.

Hitman's Bodyguard offers more than enough shoot-'em-up to keep multiplex auds munching their popcorn, but sharper talents behind the camera might have made it considerably more enjoyable.

The film is a relentlessly loud and ultimately exhausting exercise only partially leavened by the usual heavy doses of wisecracking humor and visual gags.

While Hooper favored shock value and jump scares, Kenan and cinematographer Javier Aguirresarobe construct far more fluid sequences as the camera glides and hovers over its subjects, reserving the most impactful shots for the climactic scenes, particularly a concluding sequence that’s particularly thrilling.

Despite the clunky bits, "Tomorrow" still manages to deliver the blockbuster goods.

Drawing on a substantial track record of comedic performance, Guzman adopts his usual approach by coming on much too strong, a strategy that elicits its share of laughs in action-oriented scenes, but tends to overshoot the more dramatic moments.

It may sound like a backhanded compliment to praise this sometimes cheesy movie for never taking itself too seriously, but in a summer of bloated spectacles, this modesty should not be underestimated.

Obviously, Munro is reaching for something about how people allow themselves to get mired in the past. But his characters and situations are so exaggerated and dreary that his point gets quickly lost.

Slate and Sharp (a Tony winner for The Curious Incident of the Dog in the Night-Time) can't be blamed for their lack of chemistry, and if sparks aren't flying between them, at least viewers can occasionally drown in gorgeous coastal scenery, shot nicely by Martin Ahlgren.

Ultimately, it all feels less like a romance than a curiosity.

The movie is technically accomplished, well-acted, atmospherically unsettling and certainly watchable. . . But as genre material, it’s generic.

Director Tom Gustafson (Were the World Mine) has crafted a sweet if plodding love story but it’s hard to truly hate on this whirling candy-colored poetic fairytale — it’s just too sincere, much like the musical source material.

Turning "Zorro" into a family movie with domestic squabbles and sitcom situations takes some of the luster off the romantic adventure of Old California.

The screenplay muddles its emotional core with a clunky cross between old-fashioned Hardy Boys mystery and a far-fetched weapons-trafficking subplot.

This buoyantly funny comedy offers lip-smacking entertainment that will surprise many with its skewering of both sides. Not to mention the news media that devours the Red vs. Blue war with an insatiable appetite.

While Heigl is terrific, this uninspired romantic comedy is considerably less so.

The emotional connective tissue that made Lee’s film so poetic, romantic, tragic and thrilling is missing here, reducing Sword of Destiny to a series of loosely related fight sequences and gauzy, overwrought flashbacks.

A grim little drama about a young woman's experiences with a left-wing cult, Alison Murray's debut feature suffers from disjointed storytelling and myriad other problems, including a bizarre reliance on modern dance sequences to interrupt the action.

The humor is sometimes strained, and Lellouche doesn't always demonstrate the lightest of touches.

Structurally, Predator is a classic behind-enemy-lines/buddy movies. Nothing much new, just well done.

At its playful best, the screenplay by Chris Bowman, Hubbel Palmer and Emily Spivey sends up crime-movie clichés with a light touch, and Hess shows uncharacteristic restraint in letting those moments play out without reaching for punchlines.

The message tends to melt into a paint-by-numbers screenplay that pushes too many genre buttons to be thoroughly exciting.

German-born director Robert Schwentke ("Flightplan") keep things moving briskly enough so that the leaps in time mostly obscure the leaps in logic.

Begins as a marginally fun diversion before proving to have nearly no interest in the possibilities of its premise.

Although many of the subplots play nicely, they take away from the main thrust of the film: a tightly knit family living so close to the enemy, who rarely is seen and never understood. So this is relegated to a footnote in favor of story lines that, while wholesome, are neither dramatic nor cinematic.

Amiable if predictable.

Supervized is never quite as inspired as it should be, but it offers some amusing moments along the way.

Corner Office succeeds all too well in conveying the deadening effects of office work, practically serving as a testimonial to the pandemic-created trend of working from home.

Writer-director Yuval Adler connects the dots of the convoluted plot with reasonable clarity, but The Operative only intermittently builds suspense.

An unremarkable romantic comedy that gives short shrift to both romance and comedy.

The film is always watchable, and the confrontations contain undeniable edgy excitement. But even if this weren't a remake, it would be a remake. Hollywood filmmakers have fished these waters so thoroughly that it's virtually impossible to land a big catch.

Overstuffed with frantic action and framed by Sonic’s wisecracking commentary, Sonic the Hedgehog 2 will appeal to family audiences seeking holiday distractions even if it doesn’t break new ground elaborating the franchise’s sprawling universe of intersecting characters and plotlines.

It's a cracking good detective yarn with hints of "Chinatown" and Raymond Chandler, and it's a sharp political lampoon of things we're all reading about on today's front pages.

The intriguingly bonkers premise rests somewhat soundly on matters of climate change, overpopulation and genetic engineering, but its most burning question is “Are seven Noomi Rapaces better than one?” To which the answer is a resounding “Sure, why not?”

A promising if not quite audacious debut by Robin Pront, the film benefits from a solidly envisioned family dynamic but doesn't really generate much heat until its final act.

Herbie: Fully Loaded is, pure and simple, a children's film.

The Great Gilly Hopkins has its enjoyable moments — Bates' entertaining, scenery-chewing turn providing many of them — and its themes are refreshingly complex for a film targeted to kids.

Director Adam Wingard (reuniting with Stevens after the terrific 2014 thriller The Guest) orchestrates the monster madness with impressive visual flair even if he relies on an excessive number of ‘80s-era pop song needle drops to make things seem more exciting than they actually are.

The Game of Their Lives has a great sports story to tell, yet the filmmakers fumble it away.

Slasher-movie fans, however, need not be put off by the stylized camera work and arty patina: this is down and dirty genre filmmaking, and the various slaughters, excruciatingly detailed scalpings and other atrocities are no less gruesome because of the highfalutin approach.

It's pretty silly stuff, leaving the film to rely on more conventional car chases, woman-in-peril scenarios and mistaken identity to keep things interesting -- all seen on that laptop via security cameras and the like.

The normally charismatic cast doesn’t get much to chew on and thus can’t really lift the film beyond its modest, self-aware station.

Wallace made a lot of shrewd decisions to sock this movie home, but he can’t entirely overcome the dramatic thinness of the original material.

A lazy ending mars this fine, if generic, take on a much-loved YA novel.