Kevin Jagernauth

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.

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

The Good Lie is so manufactured around a particular dramatic blueprint that any sense of spontaneity, surprise and engagement are sucked right out of the picture.

‘Jane Doe’ never aspires beyond the ordinary, and more crucially even fails to meet that modest standard. Lifeless and lackluster, ‘Jane Doe’ never draws blood.

Woefully misguided, Black And White is at times painfully quaint and obtuse about contemporary issues surrounding race and class.

The film is not only one dimensional when it comes to its subject, but also of the time and place where Hendrix arrived.

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.

Manufactured and manicured to appeal to the teenage fans of Green's book, Paper Towns is so polished and edgeless, that even Margo herself would look at the finished product, and question its authenticity.

When the end comes, and the suggestion of a sequel is left faintly lingering (though not in the way you’re expecting), weariness descends on just how unimaginative Carrie is and how easily it settles for the expected, rather than striving to be excitingly refreshing.

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.

No one wants to be the sober person at a party where everybody is high, but that’s often what “The Marijuana Conspiracy” feels like.

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.

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.

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.

White House Down wants to riff on the stirring action crowd-pleasers of old. But instead of playing on those motifs, White House Down becomes a slave to them, turning into the very kind of rote, brainless, poorly choreographed and leaden action movie it wants to lighten up.

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.

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.

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

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

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

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.

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.

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.

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.

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.

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.

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

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.