While The Interview never slacks in its mission to tell jokes, it's such a messy and meandering movie that it never quite lands as a satire of politics or the media or anything else.

Ironically, then, a designer renowned for his brilliantly precise lines and proportions — enough to make a dress out of a Mondrian painting — is paid tribute by a work with disappointingly sloppy structure. Saint Laurent might glitter like the real thing, but a careful look at the construction shows it’s really just a knockoff.

The Main Event is an easy enough ride for kids who are stuck at home and like to see people bash each other. Will parents want to stick it out, too? That’s a tougher question for a movie about magic that doesn’t really have too much magic of its own.

The film is big, brutal and beautiful — over the top at times and stirring at others.

The Internship delivers what it promises, no more and no less, and faulting it for not being a rougher, tougher, smarter film about how much we all seem to live our lives through our work today would be like yelling at a spoon for not being a knife.

The Age of Adaline begins with such a wackadoo premise that you wish the filmmakers would commit to the nuttiness, or at least explore and explain how its weird world works. Instead, Adaline’s forever-29 status just sprinkles some cheese on a timid and unimaginative, if stylishly framed, romance.

Final Cut is silly and excessive and completely over-the-top, but it also brings out the lightness and deftness of Hazanavicus’ touch with comedy; the director somehow manages to fling body parts and bodily excretions at the audience for almost two hours, and yet you leave feeling as if you’ve seen a feel-good movie.

Across the eras, wardrobe changes, short-lived smiles and bitter tears, and eventually the addiction and scandals, Ackie’s portrayal of Houston stands out not only for lip-synching so precisely and convincingly it makes one wonder if she is in fact singing, but because rather than imitate she seems to simply be trying to channel the cornerstones of her personality.

If you think man-crack is the apex of hilarity, A Walk in the Woods just might be the movie for you. It’s all right there in the trailers: slapstick, womp-womp one-liners, the premise of old buddies going on an adventure.

The major problem with Jurassic World: Fallen Kingdom — the fifth installment in this dinosaur series, and the second of a prospective trilogy — is that the makers treat the action and suspense sequences in the way most of us go to the dentist.

While Stoller’s script does boast a few solid laughs, everyone involved deserves and can do better.

The polished assuredness under which Refn operates is considerable, and even appealing, and yet there’s always one element in any given scene — a music cue, a banal sound choice, a shot held until it screams “look at me” — that breaks the mood.

At its core, The Last Full Measure is a poignant reevaluation of gallantry and of how survivor’s guilt impacts those veterans whose lives were spared. It’s not without its flaws, and Robinson’s wobbly narrative bears much of the blame, but its emotional resonance will stay with you long afterward.

The film’s breakneck zaniness sometimes gets into the way of the labyrinthine story, and you’ll be forgiven if you completely lose track of what’s going on (or at least why), but this is a remarkably entertaining and unusual Agatha Christie adaptation, and Randall’s take on the character is, surprisingly, one of the best.

Doin’ It' isn’t a great sex comedy. I don’t think I’d even call it a good one, so I won’t. But it sure as hell isn’t lazy. Noble intentions are splattered all over the walls, and the overall message isn’t in dispute.

There is a tension that comes from the humor clashing with the tragedy, but it’s a worthwhile one. Life is full of sudden loss and then also ridiculously funny moments. Capturing that authentically is no small feat, but Duplass does so with delicate care.

The script offers enough laughs to keep the movie from feeling completely disposable...and it outshines many of its genre peers through little touches like not punishing its female characters for enjoying sex and casting Damon Wayans Jr. (as a romantic interest for Alice) in a role in which his race is thoroughly irrelevant.

Each empty bump in the night lands with a dull thud. Even a terrifying dog that becomes crucial to the film has a bark that’s worse than its bite.

The Kid simultaneously wants to humanize and mythologize its cowboys — and neither effort works.

Love feels deeply, but not complexly. Both Murphy and Noé’s sustained sex scenes understand want and need, but there’s little to invest in emotionally.

Surge captures the protagonist’s collapse but shies away from catharsis, judgment, or context. Karia’s film lives in the moment and no matter how overwhelming it may seem, the moment is fleeting.

Even Downs, so appealing on Nickelodeon’s “Henry Danger,” can’t fight the forces of this soulless script (which was based on a potentially promising story idea by Wenonah Wilms).

Valerian and the City of a Thousand Planets might well represent the apotheosis of Besson’s singularly loony brand of filmmaking. It’s bonkers and gorgeous and confusing and thrilling and tiring and overflowing with ideas.

Cuarón’s tale of a madman Minuteman is well-shot and sharply paced, but too simplistic.

Bullock’s performance is brilliant — she takes all these internalized fears and crafts a character who has already disconnected from emotion. Throughout the films, she challenges what “maternal” means in circumstances this dire.

It’s almost a romantic melodrama, but it’s emotionally inert. It’s almost a biting statement about cultural appropriation, but it barely shows its fangs. It’s almost a murder mystery, but it abandons the plot for vast periods of time. It’s almost a good film except, no, that’s really stretching it. At its best it’s an unfocused plod.

An imaginative, garish, occasionally corny and generally entertaining riff on the superhero genre.

Skyscraper doesn’t change the action-movie game the way “Die Hard” did, but it’s a solidly entertaining summer diversion best enjoyed on the biggest theater — or even better, drive-in — screen you can find. And if you’re afraid of heights, make sure there’s an armrest — or even better, an arm — that you can grab.