There’s nothing wrong with Disney’s live-action remake of 'Snow White and the Seven Dwarfs' that couldn’t be fixed by making it 26 minutes shorter, 88 years ago and in hand-drawn animation.

There are exactly enough thrills to fill a 90-minute movie, including the closing credits. No more and no less. So thank god 'Elevation' is short or it probably would have stunk.

It’s cheap and it’s silly and it has a laughable premise that some people will mistake for terribleness. But it’s also winking and whimsical. It knows what it’s doing and it’s doing it on purpose. Somehow it actually kind of works.

In the Ferrell canon, “Eurovision Song Contest” is a workmanlike, “Blades of Glory”-level effort, never as funny as you want it to be no matter how hard it tries or how silly its actors look.

The clichéd story wouldn’t even be an issue if the movie were enjoyable. But little works as humor or suspense or sentiment once the job is on.

James Ponsoldt (“The Spectacular Now”) keeps his film permanently trapped in a liminal space between childhood and adolescence, where magic is real but intangible and largely metaphoric.

Nourizadeh and Landis are clearly going for a Tarantino level of blood-soaked dark humor, and while their cast is game, the film’s bursts of violence grow tiresome as its plot gets more and more ludicrous and hard to swallow.

Disney may be in the process of updating Jungle Cruise, the ride, but Jungle Cruise, the movie, isn’t trying to reinvent much of anything.

There’s so much to like in this movie, but its best qualities are ultimately subsumed in formula. And not the nutritious kind.

What keeps Cobweb moving is the duo that is Lizzy Caplan and Antony Starr and, if anything, it’s frustrating that the movie doesn’t utilize them more.

So much of Boundaries coasts on hackneyed complications and characters’ self-defeating actions that one wonders why we should believe anything anybody says.

Jason Statham knows how to Jason Statham, and as usual, he Jason Stathams Jason Stathamly.

On the whole After the Wedding is a touching journey through a world where even those with the best intentions leave some wreckage behind, and where forward motion only comes with hard looks into the past.

The 1990s framing device keeps pulling us out of the 1950s love story, sapping its power.

The film’s director and co-writer, Ol Parker, is so committed to light, feel-good escapism that he leaves out all of the requisite tension and twists — and, for that matter, the requisite jokes.

For implausibility, perversity, cluelessness, and sheer silliness, it’s hard to imagine another movie this year that will top Last Words.

There are certainly any number of inroads to creating a contemporary comedy about interracial relationships, but You People winds up playing as merely outdated and mediocre, with Eddie Murphy and Julia Louis-Dreyfus caught in the cobwebs.

Even with its faults, though, “Magical Negroes” is sure to spark meaningful and needed conversations around race among the audiences reflected in the film. At the very least, Libii shows that he is witty and adept enough as a director to continue working in his craft.

Putting a dog in crisis might seem like an easy way to create a great story, but in a family film, featuring a helpless canine in constant peril plays as emotionally manipulative and, frankly, slightly traumatizing. A Dog’s Way Home is a joyless jaunt that offers an adorable canine star and not much else.

Ultimately, “Anarchy” is too cartoonish in its politics to gain the allegorical resonance it clearly strives for — and worse yet, it's just no fun.

Once more, the filmmaker’s level of formal control is exemplary and precise, and his lead actress game for whatever comes her way. Only one can’t shake the feeling that all of it runs against the film’s ostensible message, that is another case of Monroe’s agency taken from her.

The film's look and feel are far more purposeful and propulsive than the story and script, but even so, Space Station 76 has more than a few laughs inside its brazen bizarreness.

As a mainstream slasher remake, Black Christmas is bound to be judged a letdown. But Takal’s aims are more subversive. And thanks to her, there’s now a bonkers deconstruction of a mainstream slasher remake hiding in plain sight.

Brought to life on screen, Wilson is a fractured, heartsick, funny adventure in mundane misery.

Despite its trappings, Relive is a family drama with a slight supernatural twist, and had Estes explored that, perhaps the film would feel more whole. Instead, Relive winds up being a thriller without any actual thrills.

Blending dreamlike locations found in the real world with a dollop of visual effects, Waddington reaches the desired effect of a universe where technology and fantasy interact. Her cocktail of ideas yields a magical sci-fi thriller with an empowering edge, which, though imperfect due to its ambitions, puts women in charge of their own destinies.

Demolition strikes a tricky balance; it’s a comedy of manners that never judges its hero’s bizarre behavior. Had it stuck to its emotional guns, it would stand much taller, but even its ultimate flaws can’t erode its sturdy foundation.

As a movie, this new installment feels closer to a lazily assembled playlist featuring all of the Top 40 songs that hit airwaves in the years since the original was released.