Claudia Puig

Derbez brings warmth and intermittent goofy humor to this too-broad and uneven comedy.

Cuarón’s tale of a madman Minuteman is well-shot and sharply paced, but too simplistic.

Free Fire is an ultra-violent, gut-punching spectacle that borders on a slog. It makes you feel guilty even for enjoying minutes of it, and then empty after it’s all done.

The story undertakes an undeniably worthy subject. But Thank You for Your Service has too many moments that fall flat, seem unlikely, or don’t elicit the desired response. The complexities of PTSD deserve a better, more thoughtful and layered film.

The boxing drama Bleed for This has a powerful story and a strong lead performance in its corner, but falls short of knockout status. Hampered by clichéd writing and stereotypical portrayals, this extraordinary true-life account feels run-of-the-mill.

Not without some stupidly funny moments.

30 Minutes or Less is "Pineapple Express" gone sour.

Dance Flick occasionally hits its mark with nimble execution. But too often it stumbles clumsily into bad taste.

An awkward blend of fable, travelogue and relationship drama, it's the story's hybrid style, vapid message and predictable arc that disappoint.

Soderbergh's homage to film noir and wartime thrillers, is technically stunning but narratively and thematically hollow.

Ghosts can't make up its mind whether it wants to be a racy raunchfest or a sentimental celebration of soul mates. So it ends up being a sappy, sleazy hybrid.

This is for those who like their political thrillers far-fetched, far-reaching and filled with pretty people.

For those who don't equate sexual appetite with the intricacies of fly fishing, Nymphomaniac: Vol. 1 is more tiresome than titillating.

The considerable talents of a strong supporting cast, which includes Chiwetel Ejiofor, Liev Schreiber and Andre Braugher, go untapped. The only distinguishing feature to this by-the-book thriller is Jolie, who gets pummeled as good as she pummels.

Ron Howard has taken an intriguing page-turner of a story and re-shaped it into a bloated wannabe epic.

While the plot strives to be a raunchy-clever sex farce, it feels more like a leaden repurposing of Airplane with drunken pilots, mile-high dalliances and dancing flight attendants.

The humor, largely centered around bodily functions and bathroom habits, is almost exclusively sophomoric.

Bewitched does have a few laughs, thanks to Ferrell's antics. And some of the wittiest contemporary comedians are on board, notably "The Office's" Steve Carell and "The Daily Show's" Stephen Colbert, but they are underused.

The best that can be said is that the production design is striking. Otherwise, it's a foolish story, marred by a strange blend of overacting and bland, offhand performances.

In what universe would you expect to see Andy Samberg, Ian McShane and Sissy Spacek in the same movie? You have to give the makers of Hot Rod credit for creative and unlikely casting. But the credit pretty much ends there.

The combination of tight close-ups and jarring camera work might require a dose of Dramamine. Better yet, give this movie a wide berth and check out a superb film set in a submarine, the 1981 classic "Das Boot."

Envy is in the unenviable position of saddling two of Hollywood's most talented comic actors with a script that doesn't do them justice.

Tries and winds up with a pleasant, if forgettable, romp of a film.

As a raunchy romantic comedy or an homage to the 1980s, Take Me Home Tonight is hardly worth a one-night stand.

When so many PG-13 movies are encroaching on R-rated turf, it's heartening to see a film that responsibly approaches its audience.

Though it has some mildly amusing moments (mostly in the visuals accompanying the novel's narration), Alex & Emma is disappointing, neither very romantic nor very comic.

A World War II thriller without enough thrills.

It may appeal to the most rabid fans of tearjerk romances like "The Notebook," but it's a hard-to-swallow, maudlin tale.