Maze Runner feels only partially formed.

As a film it feels overly familiar, with some amusing scenes, but not enough to make for a wholly satisfying experience.

Though dialogue is kept to a minimum, the deeply felt, complex performance by Mia Wasikowska and the assured direction of John Curran render the film — based on a true story — a riveting adventure, as well as a dreamy meditative saga.

Unlike his tough guy roles in "Taken" or "Non-Stop," Neeson is at least given some good dialogue. And he's a jot more world-weary than kick-ass here.

As a chronicle of the collapse of a marriage, the film is choppy, contrived and cloying.

Drop is based on Lehane's short story Animal Rescue, and the terrific cast and punchy dialogue make it particularly worth seeing, bringing energy to a deliberately-paced tale that occasionally feels plodding.

Informative, morally complex and supremely well-intentioned, it generally sidesteps sentimentality for appealingly straightforward storytelling.

As forewarned, so avoid.

Peña is a standout, and Longoria is a revelation as the vulnerable, pregnant Paulina. Hers is a decidedly un-glamorous part and Longoria compellingly fleshes out an under-written role.

It's an idea that might have made for a mildly intriguing skit, but blown out into a full-length feature it's at best campy and at worst an amateurish, sentimental schlock-fest.

Cantinflas is a nostalgic, occasionally schlocky, look at the Mexican icon. While a substantial number of scenes are heavy-handed, the actor who plays Cantinflas— Óscar Jaenada — is a standout.

Though it features no battle scenes, The Notebook shines a powerful, unflinching light on the horrors of World War II.

A predictable espionage thriller undercut further by loose ends left dangling, November Man is worth seeing only for Pierce Brosnan's dynamic lead performance.

The two main characters in Are You Here spend much of their time stoned or weeping. Those who watch this dreadful film may seek to escape or sink into despair as well.

The adults fare best. Leonard and Enos have more electricity than the teens do. And the best performance is a low-key, authentic one by Stacy Keach as Mia's grandfather.

The cartoonish mayhem in Sin City: A Dame to Kill For aims for a film noir sensibility, but too frequently the script simply resorts to anachronistic scenes of Jessica Alba twerking.

The best thing Life After Beth has going for it is what star Aubrey Plaza calls its "zom-com-rom-dram" premise. And the clever wordplay of its title.

A clunky-if-earnest comedy about a literal band of misfits led by a singer who never takes off his mascot-size headgear. Ever.

The Expendables 3 is as boneheaded and disposable as it sounds.

While the adult performances are strong, especially Jeff Bridges in the title role, youthful characterizations are not nearly as illuminating as they were on the page.

While Challenge makes for a pretty dull glimpse into the inner workings of the sea, it provides a fascinating look at the inner workings of Cameron, whose obsessive and demanding personality translated to movies that included "Titanic" and "Avatar."

One-dimensional characters play second fiddle to the main event. Given the large cast of faceless players, it's hard to care when a few get sucked into oblivion.

Is there a word that means the opposite of Cowabunga? If so, that's the word for the charmless, dull and derivative new take on the Teenage Mutant Ninja Turtles.

Calvary is also profoundly compelling for the light it shines on how public attitudes have changed toward the clergy in the wake of the abusive-priests scandal.

The musical numbers, with Brown's remixed vocals and Boseman re-creating his signature dance moves, are mesmerizing.

With its introduction of wonderfully memorable characters and blend of humor, action and catchy tunes, Guardians is perfectly pitched escapist fun.

A gently funny ensemble comedy that feels less like a movie than a short story.

A pleasant, but forgettable, trifle.