James Berardinelli

Some of Poetic Justice is quite good, if unspectacular, and the dialogue has a consistent ring of truth.

In the end, you have to possess a sweet spot for Black and his antics to find Tenacious D more than barely watchable.

The result is an entertaining and sporadically engrossing two hours.

The result is that the film comes across as preachy and clichéd. And, while the battle sequences are well executed from a technical point-of-view, they often seem repetitive and uninspired.

This is a comic amusement park ride – a wildly uneven movie that offers tremendous pleasure for the moment, even if it doesn't stand up well to post-screening analysis and scrutiny.

Although Sam Raimi's direction is generally solid (and, in some scenes, flawless), the film's middle act has instances when it seems repetitive and exposition-heavy.

The only reason Soul Kitchen is being marketed as an "art film" in the United States is because it is subtitled. On merit, this is as mainstream as one can imagine - a generic, feel-good plot that's fit for a sit-com. Call it My Big Fat Greek Restaurant.

Horror fans will be so bored by the first 90 minutes that they will have either walked out or fallen into a coma by the time the blood starts flowing.

Whatever goodwill the movie builds up during its first 85 minutes is thrown away in the idiotic, anticlimactic final ten.

It’s disposable action entertainment – a throw-away title that’s not bad enough to turn off but not good enough to seek out.

This Blumhouse production marries fish-out-of-water elements with some philosophical musings and offbeat characters that might remind viewers of (Robert) Altman lite. The ending feels a little forced, as if the filmmakers felt that not providing some kind of punch might disappoint viewers, but there are enough little pleasures along the way to more than compensate.

Contraband is the kind of thriller that offers just enough in the way of effective elements to assemble a two-minute trailer. When it comes to a 110-minute feature, however, the sketchiness of the plotting and the director's lack of sure-handedness sink the project.

Marking the directorial debut of Andy Serkis, it’s competently made but not exceptional.

Overall, Death of Unicorn falls short of being the Next Great Cult Classic but there’s enough here to enjoy for those who appreciate offbeat horror that doesn’t skimp on the grotesque aspects of the genre.

The performances are solid but I walked out of the theater thinking I might have been equally edified and entertained reading the man's Wikipedia entry.

Feast of Love's greatest strength is that it's about people and involves universal emotions. It's not great art but it is enjoyable soap opera.

Not without humor, but it lacks the explosive spontaneity of "The Hangover."

A horrifically bad romantic comedy that serves as a celebration of entitlement, consumerism, and shallow behavior.

The Net starts off strong but finishes weak, and if not for the presence of actress Sandra Bullock, who graces nearly every scene, this movie might have been a snoozer.

All that's missing from Ivan Reitman's Six Days, Seven Nights is a plot with a moment's originality.

Joe is a masterpiece of special effects wizardry, looking more real than any giant primate ever to walk across the silver screen. By combining animatronics, computer-generated images, and a man in a costume, Mighty Joe Young creates a compelling illusion.

Jack the Giant Slayer is an enjoyable fantasy/adventure whose magic is partially undermined by marginal 3-D.

Death at a Funeral does what a good comedy is supposed to do: generate laughter. The humor gradient is lopsided - the second half, which builds comedic momentum, is significantly funnier than the first half, which is mostly set-up. Still, any such unevenness aside, the overall impression is one of enjoyability.

On a purely visual level, Valerian and the City of a Thousand Planets deserves mention among the most technically accomplished works of those three. But as a complete motion picture experience, it falls considerably short.

Freaky Friday is motion picture cotton candy - sweet while it lasts, easily disposed of, and insubstantial. It will please those who seek it out, and probably won't horrify or disgust anyone who ends up seeing it for other reasons (dragged along, bribed, or otherwise coerced). There are enough clever and/or funny moments to provoke laughter from even a scowling 13-year old boy who wants to be next door watching Terminator 3 for the third time.

The romantic comedy doesn't have much, but it has Kidman.

Characters are left half-developed or undeveloped so that as much plot as possible can be crammed into two hours. The result, while not wholly unsatisfying, will disappoint those used to the cinematic richness we have come to expect from this collaboration.

The film makers understand that it's possible for a romantic comedy to appeal not only to the heart, but to the mind as well.

The final result is an unnecessarily-long thriller that contains far more talking than action. Pakula's direction is lackluster, showing little of the style that permeated his two most impressive pictures, "All the President's Men" and "Presumed Innocent".

It's airheaded just like the songs it embraces but, if you enjoy them, there's every reason to believe you'll appreciate the film.

Someone please get director Ric Roman Waugh a tripod! Snitch might be a passable action-thriller but it's hard to say because every time an action scene comes along, the image shakes so badly it's impossible to keep anything in view or focus.

Underwritten yet nevertheless enjoyable.

Despite being largely uninspired, the dialogue is peppered with enough profanity and salacious comments to keep the undiscriminating interested.

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Won't win points for originality, but the screenplay includes some snappy dialogue, smart observations, and an uplifting message about the importance of friendship.

Functions as much as a primer on how to conduct underground filmmaking as it does an offbeat romantic comedy.

Whatever else it may be, Irreversible is disturbingly unforgettable. It is impossible to have a blasé reaction to a film this visceral. Indifference is not an option.

Transporter 3 is the most frustrating entry into a series that has never set the bar terribly high.

There are times when Austin Powers drags. It can be difficult to sustain even the best humor for ninety minutes, and this film, for all of the laughs it offers, is far from the best.

Narratively, The Song of Sway Lake doesn’t have much going for it but when it comes to capturing the tone of a specific locale, the approach of director Ari Gold is without peer.

Above all, however, Kevin Spacey is the reason to see Casino Jack. This movie will stand alongside "The Usual Suspects" and "American Beauty" as examples of what the actor is capable of accomplishing when he is properly motivated.

“Hollow cash grab” is one way to describe The Grinch. Equally appropriate would be “soulless abomination.”

This is film noir for the MTV generation: fast-paced, slick, flashy, gleefully mindless, and hollow to the core.

This is not Schrader's finest work. The script is not tight, the ending disappoints, and there's a little too much drawn from American Gigolo. But there are some great one-liners, compelling actors, and well-developed characters.

A turd of T-Rex proportions, Land of the Lost makes one remember last summer's "Speed Racer" fondly.

Although the movie has a conventional structure, the straightforward chronological approach works for this material, allowing the viewer to come to know Cabrini and become invested in her efforts to develop an orphanage, first in New York’s Five Points slum then in rural West Park.

It’s made with families in mind – the material will resonate with children and parents (thankfully) will be sufficiently engaged not to wish to be elsewhere. Unaccompanied adults, however, may not be quite as enchanted.

There’s enough variety here that everyone’s funny bone should be tickled from time-to-time.

If The Player set the bar high for this sub-genre, Levinson's attempt, which too often falls prey to self-indulgence and tedium, comes up significantly short.

Doomsday tries to cram so much into its limited 105 minutes that aspects end up feeling rushed and confused (especially the political situation in England) and the ending is perfunctory.

For those looking for something positive, this is the only movie I can recall that features music from both ABBA ("Does Your Mother Know") and Handel ("Zadok the Priest"). Let's hear it for musical diversity!

Although Where’d You Go, Bernadette suffers from an ungainly structure and uneven pacing, the production as a whole is engaging and uplifting.

Unfortunately, the lukewarm spy thriller offers a convoluted, meandering storyline that’s almost entirely devoid of tension and suspense. There’s less action than one might expect and the character development is so thin that even when a character is in danger, it’s hard to care.

Woman in Gold is arguably of more interest for its historical perspective than for its drama. Although there is some suspense in the courtroom proceedings, no one would mistake this for the next "To Kill a Mockingbird" or "The Verdict."

There are enough laughs to justify it being labeled as a comedy but a stronger storyline than one normally associates with this kind of film. It's an enjoyable diversion amidst the big guns of summer.

Although the level of manipulation is several notches higher than in the Swedish original, A Man Called Otto boasts fine performances from Tom Hanks and Mariana Trevino and offers the kind of crowd-pleasing arc that runs counter to the prevalent mood of worldwide cynicism.

I am by nature a cynic and am easily turned off by manufactured sentiment. I dislike "Terms of Endearment" intensely. That I was fully immersed in this world and invested in the characters’ lives is a testament to the movie’s strength.

The overall experience fails to satisfy on a basic level. This is one of those films it's easier to be impressed with than it is to like.

The overall production is bland and overcooked and the reliance on nostalgia and regurgitation often renders things dull and routine.

Despite a committed performance from lead actress Mackenzie Davis and a promising opening, the film quickly corkscrews into a death spiral of trite dialogue meant to obfuscate the lack of a coherent or meaningful narrative.

The thing that makes The Accountant unique, however, and elevates it above the garden variety action-thriller, is that the title character’s “superpowers” result from his autism.

Trolls World Tour is better suited to watching at home than in a theater. It’s a shadow of its predecessor, a regurgitation of some of the elements that made the first one popular but without the sense of spontaneous fun.

A kinetic, visually dazzling thriller that's actually a notch above many of its predecessors - albeit only a small notch.

Not a masterpiece, but it's an example of how imagination, craftsmanship, and technological bravura can fashion superior entertainment out of something that is far from flawless.

Although I found the change of pace to be refreshing for a Neeson outing, the movie is too flawed for a full recommendation.

It's solidly entertaining for what it is and, while it does little to truly rejuvenate the franchise, at least it lessens the pain caused by two gimmicky cross-over pictures that sucked too much juice out of what was one of the 1980s' most surprisingly tense sci-fi action pictures.

The Program has its high points, but there are too few of them, and I suspect that many of the film's "insider's touches" are a combination of fact and fiction. Principally, this a formula football movie. Those hoping to see a hard-hitting drama about life off the field should instead prepare to be inundated by a load of feeble, unimaginative material that's almost impossible to take seriously.

Like "The Apostle," it exists off the beaten path and will not satisfy mainstream viewers. Yet, for those who do not demand a firm adherence to formulas and genre-driven expectations, this movie offers the chance to see something a little different.

This balls-to-the-walls action/adventure makes the average James Bond film look like something by Eric Rohmer. It’s high rent Steven Segal - fights, explosions, and more fights, but with a flair.

Ender's Game is uneven - at times almost maddeningly so - with the first half offering more enjoyment than the second. Perhaps that's because, in military-style movies, I often prefer the training segments to the battle sequences.

Indian Summer is a mish-mash of mediocre formulas. Although there are several good comedy sequences, this uneven humor is unable to camouflage the essential weakness of the storyline. The script, which relies heavily on conflict, doesn't present us with any believable characters. Reunion stories have been done so often that for one to make an impression, it needs a new angle (Peter's Friends, Kenneth Branagh's recent film, fell into the same trap). Indian Summer doesn't even attempt to strike out towards new ground. It finds a comfortable, cliche-filled groove and sits there.

Ritchie’s strengths as a filmmaker don’t include developing complex female personalities so Dockery’s Rosalind is more like a male fantasy caricature of a strong woman than an actual character.

On the whole, The Expendables 2 is more satisfying than "The Expendables."

The venerable series is looking outmoded and outdated. Media saturation and age have taken their toll.

Stay away from Birth not because of what goes on (or doesn't) in a bathtub, but because this is not a very good movie.

Saint Judy has a serious agenda and, in service of that, it eschews action scenes, thriller elements, and conventional contrivances. It tells a worthwhile story and provides a primer on aspects of immigration law without becoming didactic.

Boring and repetitive.

Labeling The Call as "relentlessly dumb" would be an overestimation of its intelligence. This is as brain-dead as a movie can be and it assumes the audience will have the I.Q. of a rutabaga.

To date, no motion picture has adequately captured the soaring highs and devastating lows associated with a long distance relationship, but Going the Distance comes as close as any movie has.

Like much of what transpires during the course of this production, it’s just crass.

The Brown Bunny is one long, self-indulgent bore topped off with a hard-core porn scene featuring Gallo and co-star Chloë Sevigny.

The movie is still a little rough around the edges, featuring its share of scenes that, for one reason or another, don't work, but the overall effect is one of pleasant entertainment.

The Night Listener is by no means an example of perfect filmmaking, but it is the kind of movie that stays with you.

The Avengers kicks ass.

The actors can't be faulted for any of Lovelace's missteps.

Marry Me isn’t good enough to transcend the limitations of the genre but it’s a passably enjoyable throwback to the heyday of rom-coms.

The result is an entertaining diversion but it lacks the magnificence one desires in the opening chapter of a would-be franchise.

Mulholland Falls isn't a bad film, but it definitely is disappointing, especially coming from director Lee Tamahori, who brought the powerful Once Were Warriors to the screen. Tamahori's direction is inconsistent, but, ultimately, this movie is undermined by its screenplay. Certain aspects are laudable, but, all things considered, those elements aren't enough to keep Mulholland Falls from slipping over the edge into mediocrity.

If there are any "24" fans who have wondered what the TV series might be like if Liam Neeson replaced Kiefer Sutherland, Taken provides an opportunity to have that question answered.

The strength of the acting and the modulation of the screenplay transforms what could have been a run-of-the-mill Lifetime disease-of-the-week movie into something more insightful and intelligent.

Humor is subjective, but this movie made me feel as if I had been subjected to something unpleasant.

With a theatrical trailer far better than the actual picture, Schroeder's film delivers little more than a healthy dose of disappointment. The picture is watchable, but nothing about it will linger, except perhaps the feeling that, with a more polished script, it might have been significantly better.

Anonymous is well-paced and never threatens to bore or become too scholarly.

Jack Reacher has the distinction of being little more than it initially appears to be: a clumsily condensed mystery/thriller novel made into a movie that offers little more than every other clumsily condensed mystery/thriller novel made into a movie.

Without Lena Olin's performance, Romeo is Bleeding could have been an ordinary, or even sub-par, film noir. However, with a villainess as fun as Mona Demarkov, it's impossible not to find some enjoyment amidst Gary Oldman's dreadful seriousness and all the bloody corpses. There are some plot twists, and a few unexpected happenings, but in the end, it's Olin's character that keeps the audience in their seats.

Not a positive triumph, but it does bring a smile to the face and, perhaps in some cases, a tear to the eye.

Smith has infused this final chapter of the accidental trilogy with an odd tone. It’s a comedy that wants to be serious but has trouble finding the right pitch.

The delicate air of romance that often makes this sort of film worthwhile is absent. French Kiss does it by the numbers, not from the heart.

The film has an undeniable energy, and, at times, it works as light entertainment, but there is a problem. The central character is consistently aggravating.

The Saint is more of a character-based thriller than a strict stunts-and-explosions film, which is a good thing because the action sequences are mostly flat and obligatory. Even when he generates a degree of tension, director Phillip Noyce (Patriot Games, Clear and Present Danger) is unable to sustain it, and the disappointing ending is not only long and drawn out, but lacks a sense of closure.

A delight for anyone who loves to absorb dialogue. The movie is almost all talk and no action, and possesses the "feel" (although not the pedigree) of a stage production translated to the screen.

Life with Mikey is a subpar piece of film making for which the producers' intentions are all-too- apparent. In slapping together a formula-riddled picture, they hope to cash in on the early-summer family-oriented audience (those that are questing for something to see before the re-release of Snow White and the Seven Dwarves). Considering the creative limitations of this project, such blatant marketing is patently offensive. Those with a yen to see something for the whole family can find hundreds of better offerings on video, and fans of Michael J. Fox would do better to peruse old episodes of Family Ties. At least back then, he appeared to care about what he was doing.

The obligatory jump-scares aren’t the best and the movie is at times frustratingly underlit, but those things don’t keep the suspense at bay. In the end, however, Wolf Man is a story of sacrifice and love.

Against the backdrop represented by stark images of abandoned buildings and lost dreams, the tale that is City by the Sea emerges, with the power of the visual cues giving this film its forcefulness.

Unfortunately, Voight is not in every scene, and, when he's absent, Varsity Blues has a tendency to flounder, descending into the realm of formulaic sports movie melodrama.

While Chris Brancato's script doesn't reveal anything new or surprising (students of history and fans of "The Cotton Club" already know how this film ends), it's a competent piece of storytelling that incorporates elements of human interest with the threat of escalating violence.

Those looking for a clear-cut chronology of how the murders happened are destined for disappointment. Flashbacks of the crime are short and ambiguous.

If I knew definitively what the plural was for the term deus ex machina, I’d apply it here. Rarely can I remember a movie filled with so many miraculous rescues and associated contrivances.

With Paul Feig in the director’s chair, this unapologetically sentimental film provides viewers with opportunities to laugh and cry while morphing into something a little different than what the trailers and marketing material suggest.

The Shadow's problems have nothing to do with the basic premise; rather, they are flaws in execution. The setup promises something more invigorating than it delivers.

The final production is so jammed with subplots and secondary characters that it often feels like the Cliffs Notes version of a complex novel.

The entire affair is so badly bungled that there isn’t even a briefly satisfying moment of catharsis. The obvious next act for these Horsemen is to vanish—and never come back.

Instead of offering engaging storytelling, it give us flashes, bangs, bad dialogue, and a mountain of fakery (a reminder that things that work in comic books don’t always translate to the silver screen). It’s sound and fury signifying nothing except to expose another chink in the once-impervious armor of the MCU.

There are fitful sparks between him (Kutcher) and Portman, but he is unable to sustain viewer interest in his character. She becomes the dominant figure and that throws off No Strings Attached's balance and impacts the all-important chemistry.

The movie is low-key but each scene is packed with information. Full understanding demands full attention.

This has "future cult film" written all over it. But, for those who are more concerned about the here and now, this is a film that delivers on its own peculiar brand of delights before wearing out its welcome.

Even children, who will be enthralled by all the puppies, may have a hard time not fidgeting for protracted portions of the running time.

It's easy to be cynical about a movie like this which, despite its factual basis, is more product than story. The pandering is obvious.

The problem with this movie is that Wallace has attempted to squeeze a 500-page book into a 130-minute motion picture, something that can't be done without major sacrifices.

The "now" scenes feel much like an excuse for four high-profile actresses to lend their names to this film. At best, their presence is superfluous. Yet even had the film remained entirely in the "then" time frame, it still would have been lacking. There's just not enough originality here, no matter what year it is.

A slow, meandering misfire of a movie.

A muddle of a film - an overlong bore that either mistakenly thinks it's something more than a humdrum romance or has incorporated a variety of pretentions as window-dressing.

At times darkly funny and at other times depressingly tragic. It's safe to say there aren't any movies out there quite like this one.

Here’s a rare example of a Netflix prestige film that neither runs too long nor overstays its welcome. While some of the A-list directors working for the streaming distributor have taken the opportunity to meander and add bloat to otherwise worthwhile projects, Ron Howard has developed this project exactly as he would have made it if it had been intended for a traditional release.

Constantine will appeal most strongly to those with a penchant for vivid cinematic comic book adaptations.

Although narrative aspects of A Good Person occasionally veer into areas that are either cliched or artificial, many individual scenes are effective (at times powerful).

It’s past time to let the dinosaurs take a nice, long vacation. That way, when they come back, maybe we can once again be excited about them. “Excitement” is not something Rebirth delivers with relish or consistency.

Weaknesses in the movie’s final 15-20 minutes don’t detract from how enjoyable the rest of the film is with its over-the-top gore, wild misdirections, surprising twists, and unsubtle stereotype-based lampooning.

The French have an entirely different idea of what constitutes a "comedy" from the Americans. Little White Lies is classified as a "comedy" in its country of origin. I suppose that's meant in a Shakespearean sense, because there's not a lot of humor in Canet's screenplay, which is primarily dramatic and includes scenes of outright tragedy.

Those who are more discriminating than the average 9 year-old will discover that The Quest for Camelot rapidly grows tiresome. Consequently, any adult on a search for the holy grail of animated pictures is advised to keep looking.

No Reservations may not be a modern day classic but, despite the relatively small budget, it has more heart than nearly anything currently playing in multiplexes.

The Equalizer 2 represents a solid follow-up to "The Equalizer" and an effectively understated entry into the 2018 summer movie sweepstakes.

It does what all good coming of age movies do, and that makes it a worthy and welcome entry into the genre.

Never representative of more than mediocrity from a technical or story-based standpoint, the Ice Age series has reached a new nadir with its third entry.

Simply put, Boiling Point functions as an apt definition of cinematic mediocrity, with little to laud or despise. It's the kind of motion picture you can yawn your way through without getting overly worked up about the money you lost paying the price of admission.

It’s disposable entertainment that will put some spare change in the distributor’s coffers while never coming close to replacing its venerable antecedent in viewers' hearts.

Unfortunately, while director AJ Jankel (Super Mario Bros – yes, she’s the one responsible for that) captures aspects of the hostility toward lesbian relationships in that earlier era, she does it without nuance. Her framing of characters is black-and-white and the far-too-pat ending offers an unearned resolution.

A high-concept, low-brow romantic comedy that overstays its welcome by at least a half-hour and can’t decide whether it wants to buy into or satirize the incomprehensibly popular European singing contest.

Although Going in Style’s heist represents a high point and gets props for being suitably clever, it’s swamped by bad melodrama and lame comedy.

Perhaps the greatest strength of Star Trek: The Motion Picture is that, despite a badly-paced middle, it boasts a strong beginning and end.

Guilt Trip is cinematic comfort food for road trip fans who aren't given indigestion by Streisand.

Older viewers may lose patience with the thinness of the narrative. Nostalgia might keep them watching but there’s only so far that can go and 90 minutes is too much to ask without the correspondingly intriguing story that Summering lacks.

The movie is replete with bloody encounters, sly asides, and one-liners, but the tone is awkward and uneven. There are also some serious structural problems that we're supposed to brush aside.

Marginally worth seeing if you're a Pacino fan but, even then, waiting for the DVD is the smart bet.

Jungle Cruise runs about 15 minutes too long (what else is new these days when 2 hours has become the new 90 minutes?) but mostly offers a fun, breezy journey. It may not be another Pirates of the Caribbean but it exists as a reminder that inspiration can come from unusual places.

A standard-order romantic comedy with many of the expected twists and complications. It suffers from the flaw of not giving the lead characters enough time together.

Like fruitcake, movies like this are ubiquitous at this time of the year but rarely are they devoured with great relish or enthusiasm.

Towards the end, Murder By Numbers reverts to form with cheesy clichés, plot twists, and a fair amount of unnecessary action, but that's easily the film's low point.

A Perfect Murder has inexplicably managed to eliminate almost everything that was worthwhile about "Dial M for Murder," leaving behind the nearly-unwatchable wreckage of a would-be '90s thriller.

The last 60 minutes offer adventure as rousing as anything provided in either of the previous installments. Unfortunately, that doesn't account for the other 108 minutes of this gorged, self-indulgent, and uneven production.

For action fans, Shelter scratches an itch, even if it’s destined to be little more than a passing distraction.

Certain plot elements that made sense in the original are less logical in this one, especially when one considers the differences in bonds between mothers and children and fathers and children.

Although the movie has the capacity to engage and entertain young children, its bland storyline and cut-rate animation won’t impress many adults. This is a classic case of an animated film being targeted exclusively at younger viewers without much consideration about keeping parents from falling asleep.

This is a Beauty & the Beast romance between Nicole Kidman and Chewbacca.

In the end, Conspiracy Theory fails to work as an action film, a romance, or a mystery -- all of which it aspires to be.

Although this features high wattage stars, it represents a curiously anachronistic attempt at escapist fare.

An inelegant combination of two unrelated shorts that falls far short of the director's previous work in terms of both thematic content and narrative strength.

It is sweet and sentimental and embraces the fantasy (although it would have worked better without the treacly pop songs on the soundtrack).

There's enough fun to be had that it's almost possible to ignore the stupidity of the story and the cavity that replaces character development.

There are lengthy stretches during this movie when it's deadly dull. This is the kind of film that's ideal for DVD viewing. Judicious use of the fast forward button will greatly increase The Ten's appeal.

As a date movie or for a solo night out, Blast from the Past offers more than standard romantic comedy fare.

Casting helps the film work. Uma Thurman is among the few actresses who can pull off this role: the hot, buff, slightly deranged superhero and her dowdy, un-sexy alter-ego.

Much of the average viewer's time in the theater will be spent waiting somewhat impatiently for the high-energy climax. Catnaps are an advisable way to survive some of the slow spots.

Poseidon is devoid of anything that might conjure up memories of the Winslet/DiCaprio coupling. Its straightforward action/adventure approach is both a strength and a weakness.

It's a little along the same lines as "Ocean's 11" in what it achieves and, like that film, there's plenty of Oscar power among the actors - a combined 15 nominations, to be precise.

I left Wide Awake feeling the same way I did after seeing a number of Frank Capra's movies -- I was aware of the problems, but that didn't diminish the warm, fuzzy glow I was experiencing.

The movie does offer its share of thrills and cheesy, unsophisticated fun. Just don't watch it if you're planning any air travel soon.

Despite a slow start, the movie eventually slips into a congenial flow. Unfortunately, Guarding Tess ends up derailing because of a ill-conceived ending that has something to do with a silly kidnapping subplot.

The result is an entertainingly sudsy trip through early 16th century English history.

As a feel-good movie about disabled youths, Rory O'Shea Was Here gets the job done, but it isn't interesting or daring enough to make it worth a trip to a theater.

The real standout is Alfred Molina, hamming it up as a desert entrepreneur who races ostriches and avoids paying taxes.

While the story doesn't score points for originality, the themes addressed are important and immediate, and ultimately it's a failure in execution that keeps this film from joining the ranks of a number of recent, memorable pictures chronicling life on the streets and in the ghettos.

Director Jon Favreau keeps the tone light but, aside from the occasional low-key gag or one-liner, the humor is never allowed to upstage the more serious elements.

The 94-minute running time is too skinny to do the premise justice and The Greatest Hits feels like a Cliffs Notes version of a longer, better story. Plus, for a movie that relies on music for its emotional core, the soundtrack is lackluster at best.

The result is an action-oriented survival tale, not unlike the kind of movie that Stallone or Schwarzenegger might have made back in the '80s.

The director may be able to make a compelling case for why he made Blonde the way he did but I can make an equally compelling case for why only a masochist would want to sit through the whole thing.

A tighter version of the same story might have captured and held my interest, but this one had the proceedings wandering like the riderless camels in the desert.

This is a mixed bag - passable entertainment made palatable largely by Law, but the question of "Why?" (more than "What's it all about?") still lingers where this remake is concerned.

Even with ILM providing nearly-flawless special effects, Dragonheart lacks a much-needed spark. It's obvious and plodding, and only occasionally impressive.

This is a lame psychological thriller with an obvious story trajectory. It's a wannabe film noir with no atmosphere whatsoever.

For those who remember Egoyan at the top of his craft, there's no way to represent this as anything less than another disappointment.

Working with time travel is never an easy task and, when a filmmaker doesn’t take a rigorous, consistent approach, it can become a mess. Such is the case with Don’t Let Go.

The heist-inspired elements aren't well thought through and it becomes a question of which is harder to swallow: the mechanics of the story or the idea that a couple of sixtysomethings can kick this much ass.

Two and one- half hours of gripping entertainment.

A palatable film. It offers a few solid laughs and will provoke some smiles.

Sex Drive's first 30 minutes may lead one to suspect there's nothing new to be seen here, but it undergoes a transformation once the preliminaries have been dispensed with. John Hughes would be pleased - and so also might Judd Apatow.

A deliciously nasty, dark comedy.

The film is too light and juvenile to be viewed as some sort of darkly subversive satire in which the director is laughing at those of us who take it all semi-seriously.

Death of a President is celluloid mediocrity. It's neither interesting nor convincing.

The compelling and interesting aspect of Lucky You is not so much the compulsion that drives the main character but the way in which he interacts with those around him. The movie isn't a downer, but neither does it end with all loose ends nicely tied off. In this case, redemption does not equate with salvation.

No one will ever confuse Ron Howard with Robert Altman. So, instead of a potentially hilarious satire, we're left with, as one character in the film puts it, "a joyous celebration of boobery."

The Good German, Steven Soderbergh's film noir homage, is nearly perfect when it comes to style and tone, but it concentrates so single-mindedly on the mechanics of the narrative that it loses sight of its characters.

Isn't worth the time, money, or effort. For Stephen King aficionados, it's just the latest cinematic nightmare.

The caper is a dud - so stupid and implausible from beginning to end that it's impossible to take it seriously for even the briefest of moments.

Demolition founders and its overt symbolism feels forced instead of organic. The production is uncomfortable and artificial, lacking internal logic and tonal consistency.

Perhaps the strangest thing about 2012 is that the bad parts of the film are among the most enjoyable, because they're so over-the-top ridiculous that it's impossible not to break out laughing.

Kids will have fun, parents probably won’t be bored, but will anyone really care? Sing 2 is a product and, like many products, it exists mostly to distract and make money.

With a generic cast, Don’t Look Up would have been a disappointment. With this star-studded cast, the classification of a “missed opportunity” doesn’t do it justice; it feels closer to a tragedy.

Kauf, whose Stakeout was a lighter blend of the same kind of elements at work here, knows just how to play the material to keep it enjoyable. That's not an easy task, considering that the main characters are pretty reprehensible and the basic plotline is about covering up the accidental murder of a cop. Nevertheless, in part because of a series of good performances and in part because Kauf approaches things with confidence, the results are positive. Gang Related may not be Pulp Fiction, but it's not a bad foray into tangential territory.

At least What Women Want could be identified as an enjoyable rom-com with a dose of female empowerment. One would have to be charitable to use “romantic”, “comedy”, or “enjoyable” for this new iteration.

They had 28 years, and this is the best they could come up with?

Tropic Thunder understands movies, understands the system in which they are created and, most of all, knows what it takes to make an audience roar with laughter.

This is a fine motion picture with a couple of superlative performances. It is arguably the best, most honest bio-pic of the year.

It's a solid, entertaining monster movie that, at its best, recalls not only its three decades-old namesake but Alien as well.

Perhaps the most curious and counterproductive aspect of The Fifth Estate, the so-called "Wikileaks movie," is the decision by director Bill Condon and screenwriter Josh Singer to establish the film as a thriller.

Den of Thieves delivers an above-average cops-and-robbers heist film.

This is a joyless experience made all the sadder because most viewers still remember the naughty delights delivered by "American Pie."

Director Clark Johnson and screenwriter George Nolfi (adapting the novel by Gerald Petievich) do an excellent job of setting things up and getting the story underway. Unfortunately, some of their hard work is undone during the movie's final third.

The actors may not have perfect chemistry but they are as likable as they’ve ever been and it’s not a chore to spend 110 minutes with them even though one can’t help but wish the fantasy is better realized and the ending doesn’t feel rushed and unearned.

The Gray Man is part of an unflattering pattern where creativity plays second fiddle to algorithms.

Oddly, the filmmaker best known for his Valentines to New York, Woody Allen, is not participant.

There's a little bit of "Kiss Kiss Bang Bang" in Shoot 'Em Up, although this production isn't as smart or as slick.

Whether the core flaw lies in the script or is the result of overly aggressive editing, the final result is offers only sporadic glimpses of the compelling thriller Broken City fails to evolve into.

Pretty much a one-trick pony, and, after a while, that trick loses its ability to impress.

With its idea of an insurgency striking against an implacable evil empire, there's more than a little "Star Wars" in Terminator: Savlation, although not even at its "Empire Strikes Back" bleakest was Lucas' series this dark.

In the end, it's the self-mocking aura that save this film from being a waste of two hours.

It’s too bad no one working on the production recognized the disparity in quality between the performance/non-performance scenes or they might have leaned more heavily on the former at the welcome expense of the latter.

It is as comfortable and predictable as any Saturday morning cartoon, although with higher production values and a spiffier look.

Sometimes funny, sometimes clever, and occasionally involving, but it's never brilliant and its edge is compromised by the neutering that accompanies the teen-friendly PG-13 rating.

Bottom line: Do I recommend Antichrist? Tough to do, but tough not to. For those who are intrigued by the controversy, it may be worth the sacrifice, if only so you can evaluate it from a position of knowledge.

There’s a time and a place for mayhem, and that’s essentially what Bullet Train is: two hours of fights, carnage, and witty repartee. Oh, it’s too long, to be sure – probably at least by 20 minutes. And its puzzle-like structure is too complicated for its own good. But, taken on its own terms, it’s fun and energetic as only this sort of film can be.

Although there are a few amusing instances when the film goes over-the-top with gore, those don’t save what’s ultimately a bad zombie apocalypse film with the undead replaced by robots.

The 1972 movie was better paced and presented a superior story but this one has its own pleasures. It's an interesting failure - a film that works more successfully as a study of technique and writing than as a motion picture.

With its whiplash-inducing tonal inconsistencies and sloppily assembled narrative, Amsterdam often feels like a pastiche of (take your pick) Monty Python, The Coen Brothers, or Wes Anderson grafted onto a crime caper/espionage thriller with a strong allegorical message about fascism.

Inventing the Abbotts has the cast and characters to be something special; the script just isn't ambitious enough.

Kalifornia is disturbing, and, while it doesn't overdo the blood, neither is the violence understated.

At its heart, Harrison's Flowers is a love story, albeit a graphic and difficult one.

Mary Shelley's Frankenstein may not be the definitive version of the 1817 novel, and the director likely attempted more than is practical for a two-hour film, but overambition is preferable to the alternative, especially if it results - as in this case - in something more substantial than Hollywood's typical, fitfully entertaining fluff.

The only reason Adult Life Skills is getting attention in 2019, nearly three years after it was finished, is because lead actress Jodie Whittaker is now bigger than big.

The humor is typically sitcom-ish, tending more toward sophomoric gags than genuinely funny material.

More of a pretender than a contender in a field that includes superior entries like "Reservoir Dogs" and "The Usual Suspects."

There's something beautiful about a well-made tragic love story. It may not be as uplifting as one with a happy ending, but it's more cathartic.

This is a perfect example of complete and utter mediocrity.

The humor is spotty, character development is so- so, and there are number of significant plot problems. There's no overriding reason why anyone would want to see Made in America unless they're a fan of Danson or Goldberg.

There’s ample evidence that the producers (and writer/actor Leigh Whannell) are milking a familiar title for all it’s worth – of the four Insidious films, only one has been any good and, although The Last Key may not be the worst of them, it’s easily the most irrelevant and generic.

What is missing in depth and philosophical intent is compensated for with humor and humanization.

Riddick isn't perfect but it's a good high-octane sci-fi tinged action/thriller.

Dennis the Menace is basically innocuous -- creatively barren but offering the kind of light, undemanding entertainment that the under-ten crowd finds so appealing. Most children will get a kick out of it, although adults roped into accompanying their offspring may find themselves yearning to escape through the nearest exit.

Spenser Confidential is a perfect Netflix movie – a mid-budget action/thriller featuring a recognizable star and not requiring much in the way of attention or dedication from a viewer.

Perhaps the most impressive aspect of Green Dragon is Bui's recreation of Camp Pendleton, circa 1975 (filming actually took place in Camp Pendleton).

Would be a thoroughly entertaining affair if it wasn't for one thing: the plot. The annoying and pointless storyline is a constant irritant because it diverts our attention from the real reason to see this movie - the easygoing chemistry between actors Tommy Lee Jones and Will Smith.

Although each episode might be marginally entertaining in its own right, the overall effect is that the movie isn't funny enough, exciting enough, or dramatic enough to warrant two hours of an audience member's time.

The curious thing about Father of the Bride Part 2 is that not only is it the sequel to a remake, but it's the remake of a sequel. As such, it's a perfect illustration of stretching an idea too far. Certain premises lack the necessary material for a multiple features, and this is one such example

The sloppiness of the ending doesn't only damage The Black Dahlia, it sinks the project.

Director Roger Donaldson has a lot of fun with his premise. The top-notch special effects, which use a lot of seamless computer animation, make the climax look very nice. The rest of the film is essentially one long chase sequence with a couple of nude scenes and maulings added to liven up the proceedings. No matter what genre you identify Species as, it's not top of the line, but there's also quite a bit of room beneath it.

The movie is more about the events that resulted in Felt becoming Deep Throat than his work in that role. Although not the definitive Watergate movie, it illustrates an aspect of the scandal that to this point has not been given ample attention by filmmakers.

An Unfinished Life isn't original, but, for those who enjoy this sort of drama, it's an opportunity to remember how, in the right circumstances, on-screen characters can touch our hearts.

Imagine Me & You isn't unpleasant, but it is unremarkable. If nothing else, it proves that gay romances can be just as uninspired as their heterosexual counterparts.

Gerwig transforms the ordinary screenplay into something that is by turns charming, touching, and funny.

When it comes to war love stories, The Promise isn’t going to challenge Casablanca. The movie is stronger when presenting the political situation than the romantic one.

Despicable Me 3 is an example of how even the most promising animated franchises can hit a wall if allowed to continue too long.

Taken as little more than six disconnected shorts featuring the same group of players in different roles, Cloud Atlas works. It's entertaining and the manner in which it has been edited reduces one's tendency to lose patience with the less engaging stories.

If ever there was a production that embodies all the negative Masterpiece Theater qualities, this is it.

Despite following its stage inspiration and bringing structure to Fellini's "8 1/2" (the ultimate source material), Nine still suffers at times from a lack of narrative drive and it doesn't have the surreal, dreamlike quality of "8 1/2" to fall back upon.

Tone is critical to a movie of this nature, and Fleischer gets it right.

The Venom sequel checks all the generic comic book movie boxes and, if all one expects from a film adaptation is a straightforward translation with motion and live actors, it’s hard to knock Let There Be Carnage. But, in an era when most superhero productions are becoming increasingly complex, challenging one another for greater depth and storyline intricacy, the shallowness of both Venom movies stands out in an unflattering fashion.

There's nothing quite like watching Samuel L. Jackson and Bernie Mac performing at a hoedown and getting into it with the audience.

The bad news is that Silent House is 88 minutes long, and the final half hour represents a descent into an anticlimax that ends with a scene as dumb as it is disappointing.

If movies were rated solely on the basis of style, The Quick and the Dead would score highly indeed. With its dazzling photography, inventive camera angles, and throbbing bass score, the film is an experience for the eyes and ears. Director Sam Raimi and cinematographer Dante Spinotti have woven a beautifully elaborate tapestry: colorful and evocative -- and depressingly two-dimensional.

My sense is that, while The Best of Enemies may be met by stinging criticism from the far left and far right (for different reasons), those with centrist leanings will appreciate it for what it is (as opposed to for what it isn’t).

Works uncommonly well because of the effective manner in which it blends together its various elements: the WW2 prison camp setting, the courtroom aspects, and the issues of honor, racism, and redemption.

There's still quite a bit of the essence of "Dead Poets Society" in The Emperor's Club. Thankfully, however, the level of schmaltz and manipulation has been greatly reduced.

Adequate light entertainment for those who enjoy thrillers, but it is uneven and the underwhelming ending will disappoint those who enjoyed the delicious irony served up by its predecessor.

Despite its uneven tone, the film is compelling and, perhaps more importantly, relevant even though the actual historical events occurred two decades ago.

I applaud what Costner has given us with Horizon. This contains many of the things on my movie wish-list with its focus on an original story, diverse characters, and a classic cinematic approach. Problems aside, Costner has me hooked and I’ll be among the first in line to see Chapter 2 when it opens in August.

Ultimately, the greatest fault with Killing Zoe may lie in Avary's ambition. In trying to do too much (crime film, love story, psychological thriller, and dissection of an alienated generation) with a ninety-minute motion picture, his focus becomes blurred. Regardless, with a style that alternately recalls John Woo and Sam Peckinpah, and a tone that is nihilistic in the extreme, he has created a movie that, while obviously flawed, isn't easily forgotten.

The film’s climax is tautly executed; the way everything plays out is a whirl of brutal, violent beauty.

If there's one thing this motion picture proves, it's that "The Naked Gun 33 1/3" wasn't the final insult from a founding ZAZ (Zucker/Abrams/Zucker) member; this is.

While few will debate Lee's ability as a director, this isn't close to being in his wheelhouse. Oldboy cries out for a Brian DePalma, a Quentin Tarantino, or even a David Lynch. The end result bears out the suspicion that Lee isn't right for the material, nor it for him.

One of the great unanswered questions in Hollywood is how Chevy Chase still gets work. Although his appeal is not as incomprehensible as that of, say, Pauly Shore, it's not obvious, either; "range" is one word no one will ever use in conjunction with Chase's acting ability.

Inkheart looks good and is well acted but, in the end, it left me indifferent.

Angel-A is an intriguing film, but more of an interesting failure than an offbeat success.

The result is tepid humor and a less-than-compelling feel-good story of redemption and re-kindled romance.

A blend of lackluster comedy and lazy plotting, the film feels a lot like bad Hitchcock.

The movie is imperfect and overlong but it’s never boring.

Two words that come to mind when considering The Judge are generic and predictable. It's also well-intentioned and earnest (perhaps to a fault).

Here's a pleasant little romantic comedy that doesn't try too hard and has the virtue of doing a few things differently.

Ready to Wear doesn't have enough substance to justify its length, nor does it possess enough raw humor to leaven the flat spots. The jokes are inconsistently funny, with some being worth giggles, some eliciting hearty chuckles, and some prompting little more than shrugs.

For those with a particular interest in Meir, Israel, or 20th century Middle East history, there’s enough here to hold a viewer’s attention. But, as theatrical experiences go, this one underwhelms.

The comedy is embarrassingly unfunny, the attempts at drama are badly acted and sometimes cringe-worthy, and the copious amounts of blood during the fight sequences fall short of being amusing while sabotaging any hope of taking them seriously.

From a purely technical perspective, Charlotte Gray is expertly made -- the cinematography and music are evocative, and lead actress Cate Blanchett has no problem holding our attention. But, while Armstrong gets the notes right, she fails to play them with inspiration.

It worked once, but the novelty factor is gone. The cheese is still there, but this time it's overlaid with a cynical sense that the only reason the movie exists is because the first one made so much money.

Black is a capable action director so the individual fight scenes are well-executed and occasionally involving. It might have helped the excitement level if we had more than a passing affinity for any of the characters.

A Game of Shadows is a stronger, better realized movie that builds upon the strengths of the original and jettisons some of the weaknesses.

Tokyo Decadence will appeal to only a select few. The movie is rated NC-17 for a reason -- it doesn't pull any punches, and there's virtually nothing it won't risk putting on screen. Those who take a chance on this film may be shocked by what it offers, but, regardless of their opinion of the story, the overall experience won't soon be forgotten.

As a shoot-'em-up, blast-'em-to-pieces film, it's not half bad. As a futuristic time travel movie, however, it has some very serious problems.

Enjoyable and inviting.

Tron: Ares is fan service at its finest: a bold, brash spectacle that can’t get enough of its Easter eggs and callbacks. But there are two problems with this approach: it can be alienating for those outside the inner circle, and it prioritizes sensory overload over storytelling.

The end result is a pleasant experience that is more appropriate for families than for adults unaccompanied by young offspring.

It would be disingenuous for me to claim that Ted 2 isn't funny. Although I was often bored by the plodding direction of the story, I laughed from time-to-time.

A cagey, claustrophobic noir thriller highlighted by a few clever plot twists, some nicely- honed dialogue, and a half-dozen top-notch performances.

The Theory of Flight is far from a perfect movie, but it offers enough highlights that, on balance, it's worth a recommendation. The solid acting camouflages a great many other deficiencies.

It's openly silly and, by almost every traditional critical standard, it falls a little short of the mark. Nevertheless, I enjoyed Bride of Chucky enough to place it on my ever-growing list of "guilty pleasures," and I recommend it to those who enjoy horror films (although probably not to anyone else). The movie laughs at itself, and I laughed along with it.

Divergent is less action-oriented than "The Hunger Games" but no less compelling.

In style, if not substance, The Greatest Showman is reminiscent of the Disney film, "Newsies." Like the 1992 live-action musical, The Greatest Showman comes to life when the characters are singing or dancing but struggles through the sequences in between.

It has the sensibilities of a late-'80s/early-'90s forgettable big-screen sit com and probably won't find many interested viewers who aren't card-carrying AARP members.