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.