Roger Moore

Unabomber just passes the time, another F.B.I. procedural with a couple of big names adorning the cast and classing the joint up, with neither their characters nor the screenplay illuminating it or its seriously sinister title character.

There’s entertainment value and no dishonor in this worthy homage to J-horror and the uneasy dead or about to die.

It’s a dog lovers’ movie, and I love dogs. But it is also, whatever the violence of its predictable parade of action beats, a terrible bore.

It is built on some terrific performances, including a career-best by “Twilight” alumnus Robert Pattinson.

Linklater’s Nouevelle Vague and Me and Orson Welles pretty much danced off the screen. This sad subject may not allow for much of that. But more of what made Hart special — aside from the cutting remarks and observations — begs to come out, and doesn’t.

Whatever get-everybody-in-here fan service the producers had in mind, this film wants to be a streamlined farce. Situations and characters give us that expectation. But it never gets up that head of speed necessary to turn giddy.

While one can appreciate the attempt to drag drag out of the culture war headlines and remind us of the overly-made-up, vulgar fun of it all, Stop! That! Train! just doesn’t play.

It’s a genre picture that follows formula and still keeps you guessing, another acting feather in Ethan Hawke’s hat and a reminder that Russell Crowe still does good very work — nuanced, shaded and dangerous.

These movies have always appealed to eight and unders the most. But adults taking them to the cinema will be tickled too, as there are a lot more laughs — all of them coming from sight gags — in this “Beast” than the recent “Minions,” “Toy Story” and “Super Mario Bros.” blockbusters.

Writer-director Kyle Rankin’s so worried about “agenda” that his movie is laughably obvious and clumsy in expressing that agenda, and utterly lacking anything recognizably human in the caricatured characters or performances.