While the muted performances might have benefitted from the occasional more emotionally rooted response and the South Africa locations don’t quite convincingly double for John Ford country, it’s the inertness that ultimately stops Black Beauty in its tracks.

The easiest (but incomplete) answer is that the George W. Bush era needed a Borat, and the Trump years make him painfully redundant.

Heavy on oppressively humid atmosphere and light on originality, the film is a mostly forgettable genre exercise whose viewers won't miss much by watching at home.

If nothing else, director Stanley Tong and martial arts superstar Jackie Chan’s latest effort, Vanguard, proves the law of diminishing returns. Not too long ago a Chan film guaranteed an entertaining time at the movies and heaps of awe at what the human body could endure. Now? Not so much.

The picture rarely makes that business much to look at, providing some kind of energy to offset the actor's appropriate reserve. It feels rather plodding as a result, failing to turn the boxer's conflicting loyalties into the stuff of crime-flick high drama.

This is all passably satisfying, but would be vastly better if the screenwriters weren't lazily explaining every single detail in voiceover. Grillo generally excels as a man of few words, but here his disembodied voice is a wall-to-wall shag carpet, dampening the fun we'd be having if we could just focus on the mayhem Carnahan delivers.

In the end, Baby God does little more than check one more name on a list of predators.

Propelled by Justin Hurwitz’s unrelenting wall-of-sound score, it’s often electrifying, to be sure, and certainly impressive in terms of sheer scale. How often do we get to see hundreds of non-digital extras in anything these days? But even when Chazelle takes a breather from the debauchery and gets his principals on a studio backlot or tries accessing them in more intimate moments, it all seems like one big, noisy, grotesque nostalgia cartoon.

Breaking News in Yuba County features a pitch-perfect Janney at the center of a game cast of well-knowns. Yet as it fumbles through its unwieldy mix of crime-caper farce, social commentary and black comedy, the genre it most solidly nails is the one that poses the burning question "Why did so many accomplished actors sign on to this?"

Off to a decent start with a bang-bang car chase that takes the life of cop Tom Hardy's father, Striking Distance never recaptures the sense of gritty believability that is essential but rarely found in the cops-and-killers genre. Indeed, it quickly sinks into the usual cliches. [17 Sept 1993]

As with both of his previous works, the filmmaker delivers an undeniably ambitious mind-bender that bites off more than it can narratively chew.

Perhaps if it had assumed the point of view of one character, such as a longtime teacher at the school, the film might have been invested with some weight and insight. Instead, it just sort of sits there onscreen, provoking no special reaction one way or the other.

Kellogg, though he handles the musical numbers in energetic, if unexceptional, music-video style, has trouble with some of the early dialogue scenes, reverting to hyped-up visuals to get through some of them before finally settling down. [21 Oct 1991]

The cluttered plot keeps surging forward while providing too few illuminating insights, instead loading up on mystical mumbo jumbo and flashes of gore.

It alternates between too simplistic and incomprehensible, spending much of its time in between those poles in the "I understand, but I don't care" zone.

While the two young thesps acquit themselves nicely, much around them conspires to prevent their debut from being a memorable one.

Charismatic Snipes is shackled by his weary role, continually slinking around feeling guilty about his life and consumed by remorse for his ex-partner. Hopper flashes some sleazy snazz but, similarly, his crusty old character can barely make it through the slow dances. After criss-crosses between these weary guys in the dim of cinematographer King Baggot's dull noir lighting, audiences will reach the snoozing point. [19 Apr 1993]

The unconsummated attraction between best friends played by Carice van Houten and Hanna Alström clearly is meant to be its emotional pulse. Yet however sensitive the two leads' performances, The Affair rarely gathers the necessary intensity.

With its bland positivity (regular people can be superheroes!), flimsy-bordering-on-indifferent plotting and Post-it-note-deep characters, that leaves the bits and shtick to buoy Falcone's screenplay. They're hit-and-miss, but it's definitely the off-track digressions where the film sparks to life.

It was hard to tell if the resulting groans from the audience were relief or derision. [13 Jan 1997]

There are far too many script misfires and built-in flat tires (every time the bodybuilding trio shows up the film dies) to overcome. [19 May 1991]

While the team-up still fails to become more than the sum of its parts, at least we can appreciate Hayek’s enthusiasm for the over-the-top role.

In the end, Demonic is all simulation, no real scares.

Buried somewhere deep inside this phony, flashy movie there are thoughtful questions of racial identity, ingrained social perceptions, environmental conditioning and codes of masculinity. . . . But any thematic coherence is sacrificed to stylistic showboating that keeps taking us out of the story.

Jackass Forever is being released only in theaters, providing the opportunity for its fans who find constant hilarity in its sophomoric antics to share their pleasure with like-minded brethren. The rest of us can only shake our heads and wonder about the future of civilization.

Even the acerbic bons mots delivered with crisp aplomb by Maggie Smith’s Dowager Countess, Violet Grantham, don’t match the tart-tongued precision of her best retorts. And the direction of Simon Curtis — the man who made even Helen Mirren dull in Woman in Gold — seldom rises above serviceable.

The Epstein conspiracy here is ultimately merely an excuse for taboo fetish play, culminating in a bloody finale that any viewer could see from a mile away. In the end, Nekrasova is too preoccupied with cultural relevance to actually craft a compelling film.

The classic fairy tale and its straightforward but powerful lessons in self-confidence, perseverance and the power of imagination provide an alluring foundation for ambitious and visually stunning storytelling. It’s sad that, watching this version, you wouldn’t be able to tell.