Perhaps it is unfair to expect this inevitable remake to improve upon Disney’s animated masterpiece in any way, but it absolutely does not.

The father-son dynamic provides enough humor and heart to make the movie go down smoothly with an appealing old school vibe somewhere in between the “Fockers” trilogy and Steve Martin’s two ’90s “Father of the Bride” movies.

While this tenth entry in the Fast saga has no shortage of busy set pieces, international filming locations, and, for some reason, Academy Award-winning actresses, the thrills are minimal this time out.

Venice and Tuscany are as photogenic as ever and that helps to cushion the blows of this sequel’s broad, sitcom-esque inanity.

This third and supposedly final entry is the kind of flashy fun we’ve long come to expect from Marvel at the beginning of the summer movie season.

Guy Ritchie’s “The Covenant” is a solid drama that the director can be proud to have his name literally attached to.

Movies are rarely this great at any time of year. Ben Affleck’s clever, diverting “Air” is a crowd-pleaser that will stand the test of time.

While there will no doubt be far worse mainstream studio movies put out this year, Renfield disappoints more than most because of the promise it holds.

Super Mario Bros. is certain to extend Illumination’s streak of lucrative returns on minimal pleasures. It’s just too bad that there is virtually nothing in this movie to justify those financial delights.

There’s no doubt that Adam Sandler can dazzle at will when teaming with higher caliber auteurs, as the still very vocal fanbase of Uncut Gems will attest to. But sometimes the Sandman just wants to goof around in Paris and get paid.