The time travel stuff is mined for funny jokes for a few minutes and then the film shows zero interest in all the worms it’s uncanned. It’s a whole lot of “what ifs” and not a lot of “then whats.”

It’s got great heroes, a memorable villain, and more whimsy than is probably recommended by medical science. Which is to say, just the right amount of whimsy.

All that effort and innovation and ambition amounts, in Zemeckis’ film, to little more than a mawkish intergenerational drama. Here genuinely seems to believe that the history of the world peaked with the possibility of mom and dad getting a divorce.

Brian Netto and Adam Schindler’s gimmicky nail-biter is intense and creative enough to quicken your heartbeat and make you wonder if you’d be clever enough to survive in the same situation.

A cheeseburger on Amazon Prime’s value menu, but they left out the cheese. And the meat.

Time and again, Stewart clams up or shuts down when she’d prodded on sensitive subjects; you get the feeling she’s humoring her filmographer with only slightly more restraint than she might show to a kitchen helper who uses the wrong knife to cut an orange.

A road trip fugitive movie which barely works as a road trip, or as a fugitive movie, or as a movie.

Whenever the filmmaker’s emphasis is on the sinful humanity of these men of God, reducing them to Machiavellian backstabbers, it’s a satisfying and absorbing yarn. When it tries to say something profound — while refusing to acknowledge the many elephants who populate the Vatican’s many rooms — it makes cardinal errors.

Ground zero here – for the characters, for the nations, for the filmmaker – is futility. Nabulsi drops us on that ground and doesn’t let us pretend it’s anything else.

An ordinary feature that could have been extraordinary as a series of three shorts. Instead, this is what we’ve got: a vaguely watchable animated Christmas movie that only works in fits and starts.

Allswell is one of those rare movies that feels less like a cinematic presentation and more like a personal invitation into someone’s home.

Brothers takes a tediously familiar comedy story structure and hangs some genuinely interesting characters and performances on it. It’s like a Frankenstein monster made out of Raising Arizona and Dumb and Dumber To.

Smile 2 is more of the same. A lot more. But it’s just as scary, and this time it’s feistier and funnier, proving that the premise has legs and also some malleability.

The story isn’t so hot. At least the leads are. That’s not enough to make Lonely Planet a good film, but it might be enough to get through all 94 minutes without clicking on something else instead. Maybe

It’s intelligently crafted and falls together quite well, despite a narrative that turns complicated quite quickly. You are safe in writer/directors Logan George and Celine Held’s hands. They’ve thought it all through.

Taylor envisions a 'Hellboy' where the horror matters more than the humor or poetry or romance or even the good vibes, and he’s made a film that proves his take is valid.

I’ve been to whole film festivals with less cinema than Steve McQueen packs into just two hours.

Morgan Neville may have made the latest in a long line of giant LEGO commercials, but he’s made one with real human decency and soul.

It’s What’s Inside understands the concept of sympathy, but with people like this, the movie advises against it.

I cried, dear reader. I cried so much. Not just because the story and characters were wonderful, but out of the joy of discovery.

A popcorn-spilling, shriek-inducing, tricky little treat.

The subject matter is already horrifying; we hardly need to see its fictional illustration staged for maximum impact and set to insistent and foreboding music.

It may freak you out a little bit, and that may be enough for some people, but it only briefly grabs hold of something significant. Then it lets go.

The pacing is far from what you’d expect in a Hollywood movie with this much action, which can make the film feel longer than its 116 minutes. But that rich languor and love of words is earned, and do you really want to tell Ralph Fiennes and Juliette Binoche to hurry up? No. You. Do. Not.

Road Diary takes a Springsteen concert as a template of sorts, which means it mixes joy and dread and love and regret and exuberance and silliness and seriousness; it’s intoxicating and it’s sobering, and it rocks like hell but confronts what’s been lost during Springsteen’s 74 years on the planet.

The film is bookended by quiet scenes between a man and a woman, by beautifully understated performances by Bloom and Balfe. Understatement in a boxing movie? If you look past the savagery of the middle hour, that could be the craziest thing about this new take on an old genre.

It’s unexpectedly touching and even lovely, a grandly sad benediction to people who don’t need no stinkin’ test to tell them who their soulmate is.

A film about adult problems that preys on adult fears, made for audiences with an attention span and high standards.