May boast a star-studded cast but it’s a spectacular dud on every other level with tonal whiplash, a little casual racism played for jokes and a script seemingly pulled from Hallmark cards rejected for being too hokey.

It’s a sketch-type conceit stretched to movie length that wears thin at times. When the stars are on their game, though, they keep the laughs coming.

It’s a dunderheaded follow-up, for sure, but it’s at least buoyed by Chris Hemsworth’s charisma and the few times where Winter’s War embraces complete camp.

Sing Street is a wholly appealing genesis of teenage romance and music-group therapy for one Irish boy and a instant retro classic for those still hungry like the wolf.

While it’s not the greatest Marvel effort — that honor goes to the previous Captain America: The Winter Soldier — Civil War does pull outstanding performances from its two franchise faces, Chris Evans and Robert Downey Jr.

The raucous comedy fails to keep up with its charismatic star.

Though Linklater isn’t subtle when it comes to his lesson plan — the theme of the movie is, in fact, written on a chalkboard — he gives you a squad of guys whose good times and fun personalities will leave you wanting some more.

BvS will please those either waiting for the two main players to lock horns on a movie screen, or those who've just been pining for Wonder Woman forever. And for the nerdier crowds, a fleeting glimpse at other superheroes hints this is the Dawn of something potentially sensational.

Pee-wee Herman may still look good in his ill-fitting suit, but more than 30 years after first hitting the big screen, his antics haven’t aged well.

If E.T. was human, wore swim goggles and read Superman comics by flashlight, he’d be the 8-year-old boy at the center of the heartfelt, lo-fi sci-fi spectacular Midnight Special.

Isn’t nearly as funny as it thinks it is spoofing spy tropes and buddy films and making a mockery of AIDS, politicians, movie stars and working-class Brits.

A well-crafted affair by debuting director Dan Trachtenberg that mixes elements of an intimate stage play with the white-knuckled tension of a cracking good Twilight Zone episode.

Its colorful residents make Zootopia a wondrous place to visit for two hours until you have to go back to real life, where Shakira isn’t a gazelle and law enforcement is a lot less furry.

Even with the occasional misfire in the plot, Fey’s strong performance throughout the film lets Whiskey go down in smooth and satisfying fashion.

It winds up working as a ominous climax, however, and you’re left wanting to avoid any and all farm animals for a while — which for this excellent piece of filmmaking is high praise.

Race makes its title's double meaning all too clear, and at a time when the Oscars and movies, in general, struggle with finding racial balance, two guys of different skin colors coming together for some sports-movie magic is a fitting and truly welcoming lapping of the competition.

For grown-ups, however, Deadpool avoids enough pitfalls to both embrace and flambé the superhero genre while also finding time for romance, doling out equal handfuls of bullets, barbs and warm fuzzies.

Moviegoers may wish that Will Ferrell's megalomaniacal supervillain Mugatu had won in the first Zoolander and saved us from another film with these boneheads.

Some bits fall flat, yet when the Coens hit, there’s nothing better, especially with their usual ridiculously sublime banter.

The rescue drama The Finest Hours rocks the boat in terms of blizzard-blitzed sea thrills but leaves you cold with its side love story.

The movie's story and cute characters are geared toward the younger crowd, per usual. But while it lacks the wonder and nuance of earlier Pandas, there are enough new faces and wowing, Asian-influenced style to also keep parents amused for an hour and a half.

While not as cinematically game-changing as Pulp Fiction or as gore-spattered as the Kill Bill films, The Hateful Eight doles out all of Tarantino’s favorite things.

The 5th Wave finds a way to make the most of Moretz’s talents, with the emotionality she showed in If I Stay and the utter physical chutzpah of her Kick-Ass films.

After a string of iffy Transformers movies, Bay reminds that he can do a much better action movie with humans than alien robots: 13 Hours is his best work in the genre since his 1990s hits Bad Boys and The Rock.

Much more concerned with the emotional ties between twin sisters — both played by Game of Thrones’ Natalie Dormer — than scaring the pants off audiences.

An artsy display put on by Kaufman and fellow co-director Duke Johnson that raises the level of the genre, though it sometimes tries to enjoy its individual oddity too much chronicling one night in a bored businessman’s life.

The cast is a stellar one, especially Smith. Not only does he capture Omalu’s Nigerian accent and mannerisms but also the character's idiosyncrasies.

It all comes down to men behaving badly and greed rules all, though at least you’ll laugh and seethe along the way.