Kevin Jagernauth

Love, Rosie doesn't aspire to be anything more than a digestible rom-com trifle. It's a sweet movie about sweet people who are always sweet to each other and it's enough to make one sick on the saccharine.

Even within the spinning cylinder of mediocrity that is Into The Storm, there are some minor pleasures to be had. Those are mostly found in Walsh, who is probably best known for comedic supporting turns, but makes the most with what is nearly a leading man part here.

We're The Millers isn't really a bad movie, so much as its inoffensively and instantly forgettable.

Winter's detail oriented approach does at least give the best recounting of Napster you're going to get, even if it's a biased one. And while some contrasting opinions would've been appreciated, Downloaded is still worth a click.

For the most part, the most shocking thing about Swerve is how utterly straightforward it is.

The film’s haphazard construction is made all the more frustrating because somewhere in this material is a much more resonant picture.

Fitfully entertaining, and even more rarely actually funny, Daddy's Home, tellingly, only really comes alive in the very last portion of the third act.

Devil's Knot lacks potency or a compelling narrative reason why anyone remotely familiar with the case needs to be watching it.

The most Crisis will give you is the empty gift of occupying two, completely uneventful hours of your life.

When you plunk down your $12, you will get the destruction you were promised. But it's too bad it's such a repetitive, unengaging, glaringly digital experience and worse than that, you'll have to sit through the disaster that is the rest of movie.

In Bana and Ramirez, who share a palpable bro-mantic, odd-couple quality, the film finds its most charismatic element... but shoves it aside to deliver a movie that will dully meet the barest of expectations instead of trying to exceed them.

The film’s half-hearted politics — which do make a statement, regardless of intent — are perhaps less egregious than a movie that’s simply going through the motions for the bulk of its running time.

Trying to find a middle ground between an action packed Statham vehicle, a '70s style mood piece, and a '90s era, character-actor packed crime tale, Wild Card is not surprisingly an unsuccessful marriage of those ill-fitting genres.

There is an emptiness that lingers around Jupiter Ascending. From the lack of original thought in its conception to the expensive excess in its execution, the directors' usual bag of tricks can't manage to fill the void.

The Strongest Man isn't flashy, moves to it's own unique rhythms, and glides along with a very specific sense of humor. But to the observant eye, and patient viewer who decides to hop along with the film's welcoming tone, they'll witness the voice of a filmmaker bursting with ideas and a number of ways to share them, even if he hasn't quite found his storytelling footing just yet.

Earnestly aiming to land with the weight of an Important Film married with Big Ideas, the more Submergence tries and strains to find connections to contemporary issues, the more those beats ring hollow. “Submergence” not only leaves the talent involved underwater, but the audience also longs for anything of significance to cling to.

Third Person is an audacious failure, one that even its starry cast can't save. With a trite script, and an even more glib thematic undercurrent, Third Person is nothing short of an outright embarrassment.

It's a shame Reitman goes down such a dull and tired road with his movie, because the cast give some really nice turns.

The film is an almost overly thorough look at every single step along the way in the battle to bring Prop 8 down. And while that's admirable, and gay rights is certainly a fight that needs to be documented, the minutely detailed The Case Against 8 has the curious effect of dampening the drama through its approach.

By the time the origin movie stuff is wrapped up and the audience finally gets to see The Lone Ranger and Tonto on their first of their legendary deeds, it's far too late in the movie, particularly if your patience has already been drained by the simple yet over-elaborately staged plot, that struggles to be compelling.

The idea of turning a true crime story into a intellectual cinematic exercise is novel, and could be witty and sharp, but 'Angel' never comes across that way.

Aiming for a trifecta of small kids, their older sisters and parents in the audience, Fun Size fails them all in a movie that is neither a trick nor a treat.

The filmmakers’ inability or unwillingness to actually engage with the discourse it builds Echo Boomers around leaves the film feeling both artificial and hysterical.

Unfocused, and feeling mostly incomplete in even the most basic standards of documentary film, This Time unfortunately reflects an amateur approach that is felt not just in the filmmaking but in the very people trying to bring The Sweet Inspirations, Pat Hodges and Bobby Belfry to bigger recognition.

The greatest benefit of the shock release of The Cloverfield Paradox is that going in cold makes the most out of the film’s bonkers turns.

By time the third act arrives, the film turns harshly toward cliché, convenience and melodrama to disastrous effect.

There is something of a manufactured air to the proceedings, one that is acutely aware of the techniques and traits of other similar better film, but without the strength in writing to back it up.

Runner Runner is content to stay high gloss, with no filler.

This film requires so many leaps of faith and suspensions of disbelief that you might develop acrophobia.

No matter how it shakes out, 'Mad Man' will never be more than an interesting curio that provides a basic overview of why Stern matters. But for the rest of us, the images themselves will be the greatest evidence on their own of Stern's innovation in photography, fashion and advertising.

A b-movie potboiler at best, and indebted to countless other and much better films, this tedious, dumb, so-bad-it's-almost-funny procedural is an overstuffed thriller that offers one single idea, and proceeds to beat it to death, without much of anything to say.

A thoroughly dull, conventional tale of two people who can't find a compromise on their individual priorities to be together.

Self/less is brain/less entertainment, but if there’s any consolation, the impression it leaves is so fleeting that you can soon replace it with better movie memories.

Walter Hill’s legacy of pushing the edges of genre conventions made the prospect of (Re)Assignment, at least on paper, potentially dangerous. But the filmmaker’s touch is completely lost here, and the only danger the film winds up posing is to the time spent by those who choose to watch it.

For a movie that rides on a well-executed, modest and at times playful B-movie engine, the film stumbles in its final third, with goofy plotting... and a turn from the subdued to the hysterical.

There is a better, more contemplative movie to be made with this material, but with Brand and the filmmakers opting for cheap thrills, it leaves the movie, like the passengers on the plane, stuck on the tarmac.

Carelessly crass, and yet enthusiastically performed, the film does at least offer the curious spectacle of witnessing strings of jokes energetically thud in a movie that's not worth the commute to your nearest multiplex.

Kidnapping Mr. Heineken never conveys how a bunch of working stiffs transformed themselves into a coiled — if scrappy and ragtag — criminal operation.

Working at cross-purposes, Colonia tries to have it both ways, wanting to be a shocking true story drama and a riveting piece of moviemaking. But it’s not intelligent enough to accumulate any emotional payoff, and it’s too generic and unsophisticated in its execution to work purely as popcorn entertainment.

Can't Stand Losing You lacks that sense of the three dimensional when it comes to documenting the band, presenting a sanitized, bird's eye view of their history

For a film that literally isolates its characters from the rest of the world to confront each other head-on, the drama plays more conventional than challenging.

If you've seen the previous "Transformers" you know what you're getting into, only this time, the director feels uninspired, more like he's punching a clock at the blockbuster factory, with even his flair for inventive setpieces mostly muted.

The entire film seems cloaked with a general vibe of “good enough.” Embarrassingly cheap CGI effects, poor ADR, and slipshod, jarring editing are the technical failures that compound with the creative ones to indicate a movie that’s not just miscalculated, but seemingly committed to putting together, at its best, a deliverable product and nothing more.

For all of the delightfully deranged places Primal could’ve gone, it stays drearily buttoned up.

The Dying Of The Light is forgettable, anonymous and at times almost amateur, and the product of a director searching for a new method of storytelling.

When the script isn't working, Evans turns towards the soundtrack and leans on indie rock when he can (and when the low-budget picture can afford it) to attempt to do some of the emotional lifting.

Falls flat on its face thanks to a severe lack of self-awareness and an air of dramatic self-importance.

If Playing It Cool is meant to be an ironic interpretation of what happens to these characters, the film isn't sharp, smart or insightful enough about how actual humans interact to pull it off.

Let's Be Cops is a fine example of what happens when filmmakers rely too heavily on the potential chemistry of the cast, rather than giving actors something decent on the page to work with.

The filmmaker should perhaps thank his actors for putting in more effort than this movie is worth.

In turning his back on the familiar tropes of blockbuster comic book movies, Trank doesn't have a clear new identity for Fantastic Four to distinguish itself with, and the result is a movie rich with possibilities, but trapped in the basic structure of a superhero movie, with no idea of how to wholly circumvent traditional expectations.

Almost coming off like an academic blueprint of what a serial killer movie should look like, rather than anything with a distinct voice or authorial hand, "No One Lives" shocks by virtue of being completely uninteresting.

Sadly, the sequel isn't even so bad as to be memorable. Instead, it's vaporous, not even possessing the qualities indicating that anyone involved cared about any detail of the film.

Savannah does attempt to tell the story of the friendship of those two accomplished men, but does so in a manner that is so astonishingly tone deaf, confused and narrowly focused that it leaves you almost amazed at the lack of vision behind the entire enterprise.

With some films, you can tell where one or two things went wrong — perhaps a decision in script, or a performance that’s off base — but The Snowman is the rare movie where for every choice, there was a better way to go.

While the idea is original, it's also ridiculous, and the story is not close to clever enough to put it into any kind of context that is compelling, interesting or believable.

Eventually settles into a dull routine much like the dissatisfied characters of the film, which will make for an easily dissatisfied audience.

Tedious and painfully miscalculated, Dirty Grandpa is never as filthy or funny as it thinks it is.

We strongly insist that any pain you experience while watching this movie will never be useful, anytime or anyplace.

Earning the opposite of its intended effect, United Passions makes you believe we have yet to witness the true depths of FIFA's ego and arrogance.

While the material might be the substance of a handful of reality shows you could easily watch on television, there is only one Jake "The Snake" Roberts, and his story matches the epic highs and lows of his life.

A thriller so turgid that its setting in logging country starts to feel like heavy irony: Lord, does it lumber.

As The Gods Will is a minor film from a major talent, but few middle of the road efforts from directors manage to retain the kind of wholly original sensibility seen here, and have as much fun as Miike is while doing it.

The most impressive accomplishment of In The Radiant City is that it’s unafraid to deal in hard truths about redemption, forgiveness, and shame.