Even if the big numbers in Step Up All In don't always hit the heights of its immediate predecessors, there are enough exultant moments – during the crew battles or Sean and Andie's pas de deux on a carnival ride — to tide you over until the inevitable Part Six.

Though The Invitation doesn’t land in the “worst of the year” territory given its lead performance and notable flares of style, it’s neither particularly scary, nor sexy enough or as intellectually progressive as it wants to be.

Part throwback, part update and a little bit creaky, it’s all-in-all an excellent showcase of Izzard’s wonderful talents.

The Prodigy may offer some shocks to those susceptible to this genre, or who have never seen it before, but to horror fans it will probably seem unremarkable and even bland.

A few minutes of nail-biting, recreated heroism isn’t enough to justify the other 90-or-so minutes in Clint Eastwood’s dry salute of a movie, The 15:17 to Paris, which struggles to mix patriotism, friendship, God, and destiny into something meaningful.

This movie is so crushing mainly because it was made by obviously smart people who are trying to dumb themselves down, and there’s nothing more excruciating than that.

Even as Paulson is putting her all into the film and can firmly grab hold of you at some moments as her strong-willed matriarch comes undone, much like the dust that is floating around the confined setting, it all slips through her fingers.

The Rhythm Section takes well-worn genre material and removes all the substance and ingenuity, leaving behind only an undeveloped plot, a blank main character, and a sense of gravitas that is entirely unearned.

For the millions of true believers out there, however...the film provides a blissfully melancholy roll call of pleasures.

So much of the film’s brutality has been removed in favor of melodrama and CGI fake-outs that it doesn’t matter that the cast is bringing their A-game. The game has already been called due to lack of interest.

What we’ve gotten in Snatched is an uninspired, scattershot disaster romp that mostly serves the talents of one half of the marquee pairing, underuses the other half, and struggles to blend R-rated humor, foreign misadventure, and oil-and-water mother-daughter dynamic into a cohesive diversion.

A lovingly crafted B-level melodrama elevated by its remarkable central performance, Lila and Eve feels like Viola Davis’ “Still Alice.”

A slight comedy that sadly embraces neither the worthwhile questions that surround its central premise nor the story’s dark humor potential.

Writer-director Rockaway (“The Abandoned”) hits all the major bullet points in the gangster’s life but ignores almost all the connective tissue that would make this outline of intriguing anecdotes really come alive.

Reitman’s direction may be sharp and professional, but that’s only in the service of familiar material, so it falls to an excellent cast to make the most of a very repetitive situation.

As a film, the biggest issue with A Million Little Pieces isn’t whether any of this happened; it’s that, even if it did, none of it stands out from the many similar movies that came before it.

“Secret” contains a passel of interesting ideas and effective scenes that don’t add up to an interesting whole.

By the time the film was finished, I felt ready to move on from these characters. But I was definitely ready to learn more about Norwood.

No one has ever accused a Gerard Butler action movie of being too smart, but “Angel Has Fallen” operates on such a level of half-considered logic and improbable motivations that even moderately well-mounted action can’t distract audiences from how dumb it is.

Rampage is a movie that gets buried in its own top-heavy plot, collapsing itself under that weight just like the Chicago-area buildings do on screen.

The ingredients steadfastly refuse to whip up into the froth this film so clearly wants to be.

Although the film takes place in a dystopian near future, the story rarely reveals any meaningful information about how society functions after an environmental collapse, or indeed portrays hardly any scene as though it could take place only within the confines of Mondocane.

We watch The Parenting in blasé curiosity, as we engage in the purely intellectual exercise of sussing out what’s gone wrong.

Despite a worthy message about the importance of embracing one’s past—blocking your trauma is no fruitful way to deal with it—“Insidious: The Red Door” still fizzles in its final stretch, becoming an over-plotted labyrinth of loose ends that drags more than it entertains.

From its facile depiction of the role of incarceration in the rehab process — addiction is a health issue that we keep mistakenly treating as a criminal issue — to the under-writing of the characters, what should be a harrowing drama instead comes off as an anti-drug pamphlet.

The self-contained “Treasure” ambles along on the strength of a fine, self-contained script and two winning performers, without ever reflecting or commenting on the historical weight it sets out to explore.

It’s hard not to feel a bit scammed, like you just bought a brand-new AAA game and found out most of its content is still locked behind an additional paywall.