It’s a movie that both understands the basic desire to strike it rich and our deep understanding that one person’s wealth often comes at the expense of another person’s well-being. This isn’t a perfect movie, but it’s admirable for its ability to keep more than one thought in its head at a time.

Army of Thieves, a by-the-numbers heist movie and prequel to Zack Snyder’s gloomy zombie caper “Army of the Dead,” traces over that previous movie without ever improving or even just replicating its lighter elements, especially its chases and safecracking shenanigans.

The ultimate success of 7 Days in Entebbe varies from scene to scene, and even more from actor to actor.

Quirky, tender and hopeful, “The Tomorrow Man” doesn’t necessarily depict a romance or relationship that everyone will immediately relate to, but Jones’ kindness and generosity as a storyteller encourages his audience to treat these characters empathetically.

These Greenland films may not always have a coherent point, but when they focus on the nuts and bolts of survival and the toll that surviving takes on these characters, they’re efficient, effectively crafted genre pictures.

The Eggers Brothers have a canny way of balancing those wildly different tones. We’re frightened for each character, even when we point and giggle at them. It’s a twisted film.

The period detail is rich and worth watching, and there’s a deep bench of strong character actors to give the movie occasional jolts of life. Overall, however, the usually charismatic Affleck never manages to bring gangster Joe Coughlin to life.

A thoughtful and frequently moving drama that insightfully illuminates what it’s like to live with illness and agony at least as well as last year’s other Best Actress vehicles like “Wild,” “Still Alice,” and “Two Days, One Night” do.

Although The Instigators can at times feel like a Coen Brothers movie without the polish, there’s enough charm and energy flowing through Doug Liman’s picture to keep the film humming.

In terms of anything that has to do with characterization, Chuck Hogan‘s script is punishingly rote. But as bombastic, shoot-‘em-up spectacle, 13 Hours is a visceral, well-paced and often beautiful action-thriller.

The Judge is tailor-made for Downey's gift for delivering a quippy, arrogant put-down like he's doing his target a favor. Hank's anti-heroism is a refreshing splash of lemon juice with an occasional spritz of sour vinegar. But much of director David Dobkin‘s cynically cloying legal and family drama goes down like a lump of aspartame.

Make no mistake: Escape Room: Tournament of Champions may be fun, it’s also incredibly stupid. The premise makes no sense. The mechanics make no sense. The plot makes no sense. Look elsewhere for storytelling sanity. Look here if you want to see confident, creepy absurdity, with a ghoulish imagination and showmanship to spare.

It doesn’t glitter, it doesn’t explode. It’s just fluffy and sweet. Bean’s film suffers a bit from minor technical issues and, despite a few improvements, it just doesn’t have the same emotional impact as the original, but it still deserves a good home.

There are lots of jokes, even though they’re only sporadically funny. There are lots of action sequences, even though they’re edited haphazardly and sometimes hard to follow. There are lots of monsters, even though the more we learn about them, the harder it is to care.

While initially playing like a fish-out-of-water (or, more specifically, into-the-water) rom-com, Hunt’s Ride winds up being surprisingly satisfying, a film with the guts to talk about the things that really matter underneath what could have been a glib, shallow version of the same tale.

Ultimately, Campbell’s film fails because it can’t decide whether to be cheeky escapism or a thoughtful character study, instead landing in between with something repetitive and too often a little dull.

Tron: Ares has, in no uncertain terms, a great frickin’ soundtrack. The movie, on other hand, completely sucks.

This is a movie that neither works as a quirky dark comedy about the hapless people of a small town (on that note, the film is painfully unfunny), nor as a period piece on the anxieties of the Reagan era, no matter how many “1984” references the characters throw at you.

Bad taste needs to be more honest and more all-inclusive if it’s to make a lasting impression, and MacFarlane’s bad taste here is both too wishy-washy and too knee-jerk cruel to really make any impact.

Ultimately, though, All We Had is exactly the kind of movie of which people say, “Oh well, its heart is in the right place.” A clichéd comment on a clichéd film: what could be more apt?

Its empty, loud breathlessness is the real bunk to behold: think trailer for a movie more than movie itself. Or more accurately, think teaser to the trailer to the movie. It’s a broken record of ersatz positivity and empowerment, practically shout-singing at you to be all you can be while it mostly just is what it is, plastic flash without any enduring oomph.

Despite having an emotional arc that becomes evident within its first few minutes, Luck registers as original enough conceptually to maintain one’s interest as we follow the formulaic structure of its screenplay. The resulting fable feels like a typical case of “you’ve definitely seen this before, but not precisely in this manner.”

At the end of the day, “DASHCAM” actually doesn’t seem to have much of a point to make. It’s a mean little joke of a horror movie, one where the worst people seem to live longest and endure no consequences, and if that’s what “DASHCAM” has to say about life itself then fair enough, but it’s not presented with cleverness or pointed satire. Savage’s film just keeps digging a hole and somehow it never reaches any depth.

Dolan shoots in tightly held close-ups, forgoing spatial staging for the immediate pleasures of fabric and light. Whereas similar imagery filled his previous films with energy and life, here it just makes the somber piece feel more claustrophobic and inert.

Colman does her absolute best to counter a scenario that manages to be both strangely off-putting and patly predictable, by shaping up a tartly unsentimental turn.

The minimal character development will frustrate filmgoers seeking substance, as will Coppola’s stilted dialogue.

I felt frustrated walking out of Underwater: Here’s a movie with good production values, a great leading actress, and a fantastic score, yet it gets so lost trying to figure out what story it wanted to tell that it completely forgets to form a connection with the audience.

Tucked away in The Independent is a smaller family drama in which Elisha deals with her parents and the illness of her father. These scenes are far better than anything else in the film because Turner-Smith gets to play something realistic rather than over-the-top and plot-driven.